San Francisco Arts Commission Organization Project Grant Panel Rankings FY2015-2016 Applicant Average Score (%) Request Amount Grant Amount Playwrights Foundation 99.3 $ 18,000 $ 18,000 3rd i South Asian Independent Film Festival 97.6 $ 18,000 $ 18,000 African & African American Performing Arts Coalition 95.8 $ 15,000 $ 15,000 Dance Brigade 95.8 $ 20,000 $ 20,000 San Francisco Transgender Film Festival (Tranny Fest) 95.8 $ 15,000 $ 15,000 509 Cultural Center / the luggage store 95.2 $ 20,000 $ 20,000 Kulintang Arts Inc. 94.8 $ 15,000 $ 15,000 Queer Rebel Productions 94.6 $ 15,000 $ 15,000 Root Division 94 $ 20,000 $ 20,000 Chrysalis Studio 93.6 $ 15,000 $ 15,000 Creative Labor: Queer Visual Artists’ Working Group 92 $ 6,500 $ 6,500 Amy Seiwert’s Imagery 91.6 $ 9,500 $ 9,500 OX 91.6 $ 15,000 $ 15,000 San Francisco Black Film Festival 91 $ 7,750 $ 7,750 ME’DI.ATE (Mediate Art Group) 90.6 $ 15,000 $ 15,000 San Francisco Shakespeare Festival 90.4 $ 20,000 $ 20,000 Lenora Lee Dance 89.2 $ 15,000 $ 15,000 Youth Art Exchange 89.2 $ 20,000 $ 20,000 La Pocha Nostra 88.4 $ 10,000 $ 10,000 Roxie Theater 88.4 $ 20,000 $ 20,000 Bayview Hunters Point Center for Arts & Technology (BAYCAT) 87.8 $ 20,000 $ 20,000 San Francisco Live Arts 87 $ 15,000 $ 15,000 Center for New Music San Francisco 86.8 $ 12,500 $ 12,500 Navarrete x Kajiyama Dance Theatre (NAKA) 86.5 $ 15,000 $ 15,000 Quiet Lightning 86.2 $ 9,600 $ 9,600 Radar Productions 86.2 $ 18,000 $ 18,000 Garrett + Moulton Productions 86 $ 18,000 $ 18,000 San Francisco Juneteenth Festival 86 $ 15,000 $ 15,000 Small Press Traffic Literary Arts Center 85.2 $ 15,000 $ 15,000 Eye Zen Presents 84.6 $ 15,000 $ 15,000 San Francisco Mime Troupe 84.6 $ 18,000 $ 18,000 Red Poppy Art House 84.5 $ 15,000 $ 15,000 The LAB / The.art.re.grup, Inc. 84.2 $ 15,000 $ 15,000
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San Francisco Arts Commission Organization Project GrantPanel Rankings
FY2015-2016
Applicant Average Score (%)
Request Amount Grant Amount
Playwrights Foundation 99.3 $ 18,000 $ 18,000 3rd i South Asian Independent Film Festival
97.6 $ 18,000 $ 18,000
African & African American Performing Arts Coalition
95.8 $ 15,000 $ 15,000
Dance Brigade 95.8 $ 20,000 $ 20,000 San Francisco Transgender Film Festival (Tranny Fest)
95.8 $ 15,000 $ 15,000
509 Cultural Center / the luggage store
95.2 $ 20,000 $ 20,000
Kulintang Arts Inc. 94.8 $ 15,000 $ 15,000 Queer Rebel Productions 94.6 $ 15,000 $ 15,000 Root Division 94 $ 20,000 $ 20,000 Chrysalis Studio 93.6 $ 15,000 $ 15,000 Creative Labor: Queer Visual Artists’ Working Group
92 $ 6,500 $ 6,500
Amy Seiwert’s Imagery 91.6 $ 9,500 $ 9,500 OX 91.6 $ 15,000 $ 15,000 San Francisco Black Film Festival 91 $ 7,750 $ 7,750 ME’DI.ATE (Mediate Art Group) 90.6 $ 15,000 $ 15,000 San Francisco Shakespeare Festival 90.4 $ 20,000 $ 20,000
Lenora Lee Dance 89.2 $ 15,000 $ 15,000 Youth Art Exchange 89.2 $ 20,000 $ 20,000 La Pocha Nostra 88.4 $ 10,000 $ 10,000 Roxie Theater 88.4 $ 20,000 $ 20,000 Bayview Hunters Point Center for Arts & Technology (BAYCAT)
87.8 $ 20,000 $ 20,000
San Francisco Live Arts 87 $ 15,000 $ 15,000 Center for New Music San Francisco 86.8 $ 12,500 $ 12,500
Navarrete x Kajiyama Dance Theatre (NAKA)
86.5 $ 15,000 $ 15,000
Quiet Lightning 86.2 $ 9,600 $ 9,600 Radar Productions 86.2 $ 18,000 $ 18,000 Garrett + Moulton Productions 86 $ 18,000 $ 18,000 San Francisco Juneteenth Festival 86 $ 15,000 $ 15,000 Small Press Traffic Literary Arts Center
85.2 $ 15,000 $ 15,000
Eye Zen Presents 84.6 $ 15,000 $ 15,000 San Francisco Mime Troupe 84.6 $ 18,000 $ 18,000 Red Poppy Art House 84.5 $ 15,000 $ 15,000 The LAB / The.art.re.grup, Inc. 84.2 $ 15,000 $ 15,000
San Francisco Arts Commission Organization Project GrantPanel Rankings
FY2015-2016
Theatre of Yugen 84.2 $ 15,000 $ 15,000 We Players 84 $ 18,000 $ 18,000 ZACCHO Dance Theatre 83.5 $ 18,000 $ 18,000 San Francisco Silent Film Festival 83.2 $ 20,000 $ 20,000 Cypress String Quartet / Cypress Performing Arts Association
83 $ 20,000 $ 20,000
Croatian American Cultural Center 82.4 $ 15,000 $ 15,000 Hope Mohr Dance 80.9 $ 10,000 $ 10,000 Dawson Dances SF 80.7 $ 15,000 $ 15,000 Chinese Culture Foundation of San Francisco
79.8 $ 20,000 $ 20,000
foolsFury Theater Company 79.8 $ 15,000 $ 15,000 Mugwumpin 78.8 $ 15,000 Fifth Stream Music 78.4 $ 15,000 San Francisco Camerawork 78.2 $ 15,000 Liss Fain Dance 77.4 $ 18,000 Other Minds 76.8 $ 17,500 RAWdance 76.8 $ 15,000 Lorraine Hansberry Theatre 76.4 $ 18,000 LEVYdance, Inc. 75.6 $ 18,000 Asian Pacific Islander Cultural Center 75.4 $ 15,000
PhotoAlliance 75.2 $ 15,000 Northern California Music and Art Culture Center, Inc.
73.2 $ 20,000
Chinese Cultural Productions 72.8 $ 18,000 Theatre Rhinoceros 72.4 $ 14,520 Noe Valley Chamber Music 71.8 $ 15,000 Left Coast Chamber Ensemble 71.6 $ 18,000 San Francisco Independent Film Festival 71.2 $ 20,000
Queer Cultural Center 61.8 $ 20,000 Footloose Dance Company 60.2 $ 15,000 Focus on Golden Gate Theatre Company (FOGG)
56 $ 15,000
TOTAL AMOUNT 676,850$
San Francisco Arts Commission Organization Project GrantsRecommended Applicants - Project Summaries
FY2015-2016
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Grantee Grant Amount
Project Description
3rd i South Asian Independent Film Festival
$18,000 This proposal requests $18,000 to support the November 2016 San Francisco International South Asian Film Festival at the New People Cinema in Japantown and at the historic Castro Theatre. The Festival will screen approximately four full-length features, six documentaries and ten short films by filmmakers from India, Pakistan, Bangladesh, Sri Lanka, Nepal and the South Asian diaspora. The Festival will attract an estimated 5000 ticket buyers; approximately 75% will be Bay Area South Asians.
509 Cultural Center / the luggage store
$20,000 This proposal requests $20,000 to curate, promote and install Illegal, the opening exhibition of the 509 Cultural Center’s year-long 30th Anniversary Celebration. Opening at the Luggage Store Gallery in November 2016 and closing in January 2017, Illegal will feature approximately 50 works by 30 artists who broke the law for the sake of art. Awarded funds will support the exhibition’s curatorial fees, and its design, installation and promotional costs.
African & African American Performing Arts Coalition
$15,000 AAAPAC will present the Black Choreographers Festival: Here & Now – 2017 (BCF), an annual event, nearing 15 years, of anticipated community programming and activities acknowledging the diverse artistic expression within the context of African and African American dance and culture.
Amy Seiwert’s Imagery $9,500 For this project Amy Seiwert, Artistic Director of Imagery, will create an evening length contemporary ballet to ‘Winterreise’, a piano and voice cycle, by Franz Schubert set to 24 poems by Wilhelm Müller. The ballet will be choreographed for eight (8) Imagery dancers and performed to live music (piano and voice).The ballet will be part of Imagery’s 2017 home season SKETCH and includes a variety of audience engagement opportunities.
Bayview Hunters Point Center for Arts & Technology (BAYCAT)
$20,000 Connecting the public to professional quality films from a youth perspective, hosting “Zoom In” at Z Space creates an opportunity for community members to see BAYCAT’s youth-produced media on the big screen, and create a dialogue about relevant cultural topics, current events, and the concerns of teens today. From music videos to documentary shorts, Zoom In segments created by BAYCAT ACADEMY youth, have screened at 32 local, national, and international film festivals to date.
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Center for New Music San Francisco
$12,500 The Center for New Music will host a rotating exhibit of invented musical instruments in its Window Gallery. Over 12 months, six unique exhibits will offer a uniquely appealing representation of musical invention, and help build the growing community for new music and new instruments in the SF Bay Area by providing public access to the work, and engagement opportunities through a mix of onsite reception and related community events.
Chinese Culture Foundation of San Francisco
$20,000 The Chinese Culture Foundation respectfully requests $20,000 to support, “Ink-possible”. This project will engage the community, increase accessibility to art, and spark dialogues across diverse cultures. It will feature renowned ink artist Zhong Yueying in CCF’s Visual Art Center and artists Tanja Geis and Jonathan Wallraven at CCF’s strategic placemaking locations, the 41 Ross gallery and Portsmouth Square pedestrian bridge. 29 original pieces will be on display from September – December 2016.
Chrysalis Studio $15,000 Chrysalis Studio requests $15,000 to support the Queer Ancestors Project, which will culminate in a Spring 2017 exhibition of linocut prints at the LGBT Community Center. The exhibition will feature work by 10 young Queer artists created during a free 18-week workshop exploring printmaking and Queer history at SOMArts. The project will connect Queer young artists to their ancestors, build community, and envision an LGBTQ future integrating the wisdom of our past.
Creative Labor: Queer Visual Artists’ Working Group
$6,500 This proposal requests $6500 to support Queer-it-Yourself Expo, a month-long June 2016 curated exhibition at SomArts featuring approximately 50 works by Queer visual artists examining issues of survival and reinvention. The exhibition will feature hands-on workshops and interpretive programs. During the opening weekend, a curated Makers-Faire will demonstrate innovative collective models of queer artisan culture. Awarded funds will support the Artistic Director’s curatorial fee and the exhibition’s installation, venue rental and promotional expenses.
San Francisco Arts Commission Organization Project GrantsRecommended Applicants - Project Summaries
FY2015-2016
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Croatian American Cultural Center
$15,000 The Croatian American Cultural Center (CACC) requests $15,000 to support the Bosnian Sevdah & Dance Festival featuring a concert with performances by six solo artists and ensembles rooted in Bosnian sevdah singing and kolo dancing. The participatory Festival will be in Nov 2016 at CACC's SF venue.
Cypress String Quartet / Cypress Performing Arts Association
$20,000 The Cypress String Quartet respectfully requests a grant in the amount of $20,000 from the San Francisco Arts Commission’s Organization Project Grants, in support of the “Cypress in The City” project. Funds from the SFAC OPG will be allocated to a series of 16 free “pop-up” concerts scheduled for May 2016, devoted to the complete string quartets of Beethoven and presented in publicly accessible environments throughout San Francisco.
Dance Brigade $20,000 Dance Brigade will present its third annual D.I.R.T. Festival – Dance In Revolt(ing) Times, an innovative Festival featuring commissioned dance works rooted in social justice. In January 2017, 18 Bay Area choreographers will show new work over three weekends at Dance Mission Theater, Galería de la Raza and Brava Theater in the 24th Street Cultural Corridor. Works will explore ways art can be used as a catalyst for change.
Dawson Dances SF $15,000 A re-imagining of Igor Stravinsky’s 1913 Rite of Spring score, "RITE/dawsondancesf" will connect this ancient tale of ritual, sacrifice, and awakening to the AIDS epidemic of the 1980s. A timely statement on the shifting attitudes towards the gay community, this work also intends to be an educational experience for a generation that may be unaware of the history of the epidemic.
Eye Zen Presents $15,000 Eye Zen Presents seeks support for the creation and premiere of The Charlip Project, an interdisciplinary work of theater about the life of seminal New York and San Francisco artist Remy Charlip (1929-2012). The production will unearth and elevate Charlip’s story as a gay Jewish artist, choreographer, and children’s book author working in New York’s post-war, avant-garde art scene leaving a vibrant mark on the worlds of art, dance, and Queer culture.
San Francisco Arts Commission Organization Project GrantsRecommended Applicants - Project Summaries
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foolsFury Theater Company $15,000 We are requesting support for the 2016 FURY Factory Festival of Ensemble Theater, a two-week gathering of performing artists from around the Bay Area and the world. It brings innovative, cutting-edge work to Bay Area audiences and gives participating artists unique opportunities for artistic exchange and cross-pollination. Featuring performances, structured conversations, panels, and educational workshops, the FURY Factory serves as a West Coast hub for the national ensemble theater movement, and as such has put San Francisco on the map as a key location for innovative theater work.
Garrett + Moulton Productions
$18,000 Garrett + Moulton Productions is seeking support for “Speak Angels”—a free-to-the-public, site-specific performance piece that will take place in a series of six performances in the Pottruck Family Atrium of the Jewish Community Center of San Francisco. This work explores themes of transcendence and hope and will feature 24 dancers, an ensemble of six musicians, and the 24-person vocal ensemble, San FranciscoChoral Artists. Funding will support performance fees for the dancers, musicians, and singers.
Hope Mohr Dance $10,000 Hope Mohr Dance's 2016 Bridge Project, "Ten Artists Respond to Locus," is a bicoastal collaboration between HMD and the Trisha Brown Dance Company in New York featuring community-driven curation that brings Bay Area artists from different disciplines and communities into dialogue with dance history. This multidisciplinary exchange, co-produced with the Yerba Buena Center for the Arts, has workshop, public education, and performance components, and brings Bay Area artists into bigger national conversations about artistic legacy.
Kulintang Arts Inc. $15,000 Philippine dance choreographer Jay Loyola, composer Florante Aguilar and Kularts, Inc. propose to create the world premiere dance production of Mariang Makiling, highlighting Philippine myths and spirituality of the Luzon and the Visayan Islands as a metaphor for re-discovering and reclaiming the indigenous self denied by colonization. Through innovative movements rooted in traditional Pilipino dance, eight to ten dancers will perform the 50-minute work May 2017, over three nights at Brava Theater.
La Pocha Nostra $10,000 This proposal requests $10,000 to support The New Barbarians, a photographic exhibition with related public programs to be held at Left Space Studios and SF Camerawork in early 2017.
San Francisco Arts Commission Organization Project GrantsRecommended Applicants - Project Summaries
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Lenora Lee Dance $15,000 Lenora Lee Dance (LLD) respectfully requests $15,000 to support the creation and performance of "The Heart of Knowing", a new multimedia immersive dance experience premiering in a two-week run 5/21-5/28/17 at Dance Mission Theater as the highlight of the company’s 10th Anniversary Season.
ME’DI.ATE (Mediate Art Group)
$15,000 Mediate Art Group is seeking $15,000 for the 7th season of the Soundwave Biennial, San Francisco’s innovative sound, art and music festival, running from July - September 2016. With this season’s theme, Architecture, Soundwave will commission 20+ new works from artists, musicians, and composers from the Bay Area and beyond to examine and celebrate San Francisco's unique architectural history and diversity by presenting unique experiential events and performances in unique urban venues and unexpected spaces.
Navarrete x Kajiyama Dance Theatre (NAKA)
$15,000 NAKA requests $15,000 to support Race, a series of free performances integrating choreography, storytelling, mobile video, and sculpture at locations in and around the Tenderloin National Forest in August - September 2016 for at least 800 audiences. A tribute to the Olympic Games and civil disobedience, Race is set against the backdrop of the upcoming 2016 Olympic Games in Rio and the tumultuous 1968 Mexico City Olympics. Awarded OPG funds will support artistic fees.
OX $15,000 OX requests $15,000 to support Fake Docent Tours, a performance experiment that commissions 5 local artists active in queer performance communities- Laura Arrington, Philip Huang, Rachel Dichter, Tessa Wills, and Honey Mahogany - to develop dynamic interactions with visual works and live audiences in San Francisco arts spaces for more than 750 audiences in FY16-17. Awarded OPG funds will support artists’ fees. Performances will take place at SFMOMA, Asian Art Museum and YBCA.
Playwrights Foundation $18,000 Playwrights Foundation is seeking support for the 39th Annual Bay Area Playwrights Festival (BAPF), which will take place in July at Custom Made Theatre, and will include an Artists’ Retreat, two weeks of work in the studio, and two weekends of public staged readings of six full-length plays. All six plays will be selected from our annual open submission process, and will reflect the outstanding quality, diversity, and daring that the BAPF is known for.
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Queer Rebel Productions $15,000 This proposal requests $15,000 to support Queer Rebels Fest, featuring 20 queer and trans artists of color. Queer Rebels Fest will feature a different cast each night, in 2 performances and 1 film screening. This production will be staged at the African American Art and Culture Complex in June 2016. Awarded funds will support the fees of the participating artists.
Quiet Lightning $9,600 To build a sustainable foundation for San Francisco's primary platform for emerging writers; to produce twelve submission-based readings, curated through a blind selection process by two different people every month and performed live by the authors at venues ranging from dive bars to national landmarks, and published in a book handed out to the first 100 people at every show. The shows are free and the artists are paid.
Radar Productions $18,000 This proposal requests $18,000 to organize Mariconerias, a yearlong series of 4 multidisciplinary arts events. Each event will present 4 LGBT artists commemorating a Mission District venue that nurtured the development of the queer arts community. The project will look to the future through the lens of the past and will reclaim, document and map the Mission’s historical role in the development of queer culture. Awarded funds will support the participating artists’ fees.
Red Poppy Art House $15,000 Red Poppy Art House Crossover Collaborative Residencies: Interdisciplinary Residencies for the Development and Presentation of New Works. RPAH seeks to encourage and support intentional six-month partnerships between musicians and dancers. These residencies, curated by dancer Amara T. Smith and musician, Zena Allen, will support six dancers and six musicians, who will develop new collaborative work, culminating in six public performances.
Root Division $20,000 The Second Saturday Exhibition Series is a collection of visual art events taking place on the 2nd Saturday of every month. By presenting eclectic and engaging work in an approachable atmosphere, the project draws a diverse range of 4000+ visitors and broadens arts-interested public while offering exhibition/curatorial opportunities to 350+ emerging artists. Funding would support the production of 12 high-quality exhibitions as tools to engage new neighborhood constituents and diversify our audience and participants.
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Roxie Theater $20,000 To launch a vibrant stream of Spanish programming and community engagement to better serve the Latino and Hispanic communities. We have been testing this programming and building partnerships for the past two years, with growing success, and feel confident that with adequate funding we can expand to more fully meet the needs of the Spanish speaking population in San Francisco and beyond.
San Francisco Black Film Festival
$7,750 This proposal requests $7750 to support the 18th San Francisco Black Film Festival in June 2016. The 4-day Festival will take place at venues in or near the Western Addition including an opening night reception at African American Art & Culture Complex and screenings at theaters like Kabuki, Clay, West Bay Conference Center and Jazz Heritage Center. Awarded funds will compensate the Artistic Director and partially support the Festival’s production and promotional expenses.
San Francisco Juneteenth Festival
$15,000 This proposal requests $15,000 to support Uhuru Village Stage and Community Area at San Francisco’s 66th annual 2016 Juneteenth Celebration. The project will simulate an African-inspired cultural village where vendors sell natural products, promote African spiritual/healing practices, offer authentic African cuisine and focus on youth and elder needs. The stage will present artists whose work speaks to the black cultural experience. Awarded funds will support the Curators and the participating artists’ fees.
San Francisco Live Arts $15,000 San Francisco Live Arts is requesting $15,000 to present “Women in Music,” in honor of its 35th anniversary. The project will include nine concerts at St. Cyprian’s that highlight female vocalists, instrumentalists and songwriters, primarily from the Bay Area. Programming will be co-curated by SFLA’s artistic director and the nine women artists, with the goal of offering a diverse group of musical styles and genres and next gen musicians.
San Francisco Mime Troupe $18,000 The SF Mime Troupe seeks support for our 2016 season of free shows primarily in SF parks. The to-be-developed show will feature SFMT’s unique musical theater blend of commedia dell’arte and melodrama, tackling the importance of education in creating an informed citizenry and the citizenry’s role in democracy. We anticipate approximately 13 SF shows for approximately 20,000 San Franciscans, many with little or no access to theater.
San Francisco Arts Commission Organization Project GrantsRecommended Applicants - Project Summaries
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San Francisco Shakespeare Festival
$20,000 The San Francisco Shakespeare Festival requests support for its 34th Free Shakespeare in the Park season which will present The Winter’s Tale in the Presidio and McLaren Park. Free Shakes has become a cultural tradition and is a community-building experience that embraces San Francisco’s ethnic, educational and economic diversity. It is also a gateway to our vibrant arts community, and the first traditional theater experience for many of our audience each year.
San Francisco Silent Film Festival
$20,000 SFSFF is requesting $20,000 to support our Festival 2016, which will take place June 2-5, 2016 at the Castro Theatre. We will present a varied and lively program of restorations and preservation prints of rare and classic silent-era films, all with live musical accompaniment by a diverse group of world-renowned musicians. A special free presentation, Amazing Tales From the Archives, will introduce the audience to film preservation issues; other presentations will highlight musical accompaniment.
San Francisco Transgender Film Festival (Tranny Fest)
$15,000 This proposal requests $15,000 to support the 15th Anniversary San Francisco Transgender Film Festival at the Roxie Theater November 10-13, 2016. SFTFF is the nation’s oldest, largest and strongest transgender media arts event. Awarded funds will support the Festival’s curatorial, production and promotional expenses.
Small Press Traffic Literary Arts Center
$15,000 Small Press Traffic one of the longest-running artist-run organizations in San Francisco, seeks support for its Reading Series, which is a foundational program of the organization. The Reading Series, consisting of eight distinct events over the course of the project year, features local and out-of-town innovative writers along thematic lines, pushing the work of these themes further through conversations designed to provoke critique, inquiry and new forms.
The LAB / The.art.re.grup, Inc.
$15,000 The Lab requests support for Inside You Is Me, a series of performances staged inside an installation developed by Bay Area artist Jacqueline Gordon. The installation will incorporate sound, video, modular architecture, choreography and performance. Gordon will collaborate with local artists - choreographers Maryanna Lachmann and Kathleen Keogh, performance artist Lydia Brawner, and sound artist Laetitia Sonami – and visiting choreographer Joanna Kotze during Gordon’s residency from July – September 2016 for more than 600 audiences.
San Francisco Arts Commission Organization Project GrantsRecommended Applicants - Project Summaries
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Theatre of Yugen $15,000 Theatre of Yugen will produce and present the US premiere of the play The Red Demon by Noda Hideki (orig: Akaoni, 1998), translated by Roger Pulvers (2003), and directed by Nick Ishimaru. The October 2016 production will illuminate humanity’s behavior in moments of intercultural conflict and satirize America’s fear of immigration and struggle with racism through the story of a demon stranded in a foreign land.
We Players $18,000 We Players collaborates with inkBoat and Rova Saxophone Quartet to create new site-integrated ambulatory performances exploring central archetypes found within the epic poem Beowulf. Utilizing theatre, dance, and music, We Players and our collaborators unite creative forces to investigate heroism and ”otherness” in two distinct performance phases, 2016-17. Working in San Francisco Maritime National Historical Park and adjacent Fort Mason, we draw inspiration from the environment and the layers of story within these NPS sites.
Youth Art Exchange $20,000 Youth Art Exchange requests $20,000 from the San Francisco Arts Commission’s OPG grant program to present a session of visual, performing, and technical arts classes culminating in the 6th annual San Francisco Youth Arts Summit. This event offers Bay Area high school-aged youth with the opportunity to present exemplary visual and performing artwork in a professional venue, curated and convened by Youth Art Exchange and cohesively focused on youth-identified issues facing San Francisco.
ZACCHO Dance Theatre $18,000 Zaccho Dance Theatre will produce the 2nd biennial SF Aerial Dance Festival during the second week of August 2016. The festival will bring together exceptional aerial dance artists, students and audiences for a dynamic week of performances, workshops and discussions. Festival performances will be held at San Francisco’s historic Fort Mason Center for Arts and Culture, and Festival workshops will be held at Zaccho Studio in San Francisco’s Bayview Hunters Point district.
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FY2016 Organization Project Grants - Dance Panelists Biographies Karl Cronin, Independent Arts Manager Karl Cronin is a senior level arts business leader with over ten years of management, production, and development experience. He has worked at the foundation level and has managed three nationally touring dance companies (AXIS Dance Company, Misnomer Dance Theater, The Equus Projects). He has a deep commitment to the field of contemporary dance, concert music, and to supporting cultural equity in the arts. Mx. Cronin has received leadership fellowships from Emerging Arts Professionals and Dance/USA’s Institute for Leadership Training, and has curated evenings of performance for the Center for Performance Research, Dance Film Archives, Center for New Music, and Chez Bushwick. He has given talks on arts business at the San Francisco Foundation, Dance/USA, APAP, Temple University, and MR @ Judson Church, and has served as a board member/advisor for Magik Magik Orchestra (San Francisco), Locaphonic (San Francisco), Bay Area Arts and Science Interactive Collaborative Sessions (San Francisco), and the Dance Complex (Boston). In 2014, he served as a mentor for Pentacle's HelpDesk. As a cellist-composer, his work has been performed at Davies Symphony Hall, Center for New Music, Mill Valley Public Library, Jay Etkin Gallery, SOMArts, the DeYoung Museum, Chateau Chamerac (France), and the Brooklyn Rooftop Film Festival. Mx. Cronin lives in San Francisco with his husband Carl Tashian and a four-legged peace activist named Arlo. Dominique Enriquez, Program Coordinator for City of Walnut Creek, Civic Arts Education Dominique Enriquez is a Bay Area native returning to San Francisco after 13 years of living in San Diego, Chicago, and Santa Cruz. Prior to joining Civic Arts Education, she served as the Director of Education at Leap Arts in Education in San Francisco and as the Manager of Teacher Programs at the Museum of Contemporary Art, Chicago. In addition, she works as a teaching artist and professional development provider for multiple community arts organizations including the Palo Alto Art Center and the Alameda County Office of Education. Dominique studied Drawing and Painting at the California College of the Arts, received her B.A. in Studio Art from San Diego State University, and her Master's degree in Education from the University of California, Santa Cruz. Additionally, she has over 10 years of dance experience in hip-hop, ballet, and
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Egyptian bellydance. As an experiential learner, Dominique believes in the intrinsic value of the arts in the learning process and loves to explore new ideas through observing, talking about, and making art. José Maria Francos, Production Manager, Yerba Buena Center for the Arts José María Francos, Lighting Designer and Production Manager, has designed for Dance, Theatre and Opera. He has collaborated with The Wall Flower Order, Ellen Bromberg Ensemble, June Watanabe In Company, Joanna Haigood's Zaccho Dance Theater, The Repertory Dance Theater of Trinidad and Tobago, Kulintang Arts, Pearl Ubungen Dancers and Musicians, Navarrete + Kajiyama Dance Theater, Robert Moses/KIN, Vanessa Redgrave's Amnesty International Celebration, The Oakland Opera, The Oakland Ballet and served as Lighting Director for the Joseph Papp NY/SF Festival Latino working with La Cuadra de Sevilla from Spain, Rajatabla from Venezuela y Compania Norma Aleandro from Argentina. He has served as Yerba Buena Center for the Arts' Production Manager since 2001. Lily Kharrazi, Program Manager, Alliance for CA Traditional Arts (ACTA) Lily works with the Alliance for CA Traditional Arts, a statewide organization dedicated to the expressions of cultural communities. A dance ethnologist by training she brings over three decades of community-based arts experience to the field. She consults with national, statewide and local arts agencies, writing frequently on cultural art communities. She worked for many years with the San Francisco Ethnic Dance Festival. She is multilingual; has worked in refugee resettlement; studied many world dance forms and is currently a student of yoga. Michelle Lynch Reynolds, Program Director, Dancers’ Group Michelle Lynch Reynolds has over a decade of experience in the arts in the Bay Area, specifically focused on dance. At the very start of that decade, she served as a panelist for the SFAC, which was a formative experience in learning the ecology of the city's arts sector. Prior to joining Dancers' Group, she spent three years working at Quinn Associates as a grant writer and institutional fundraising consultant. Ms. Reynolds is currently part of the Leadership Team of Emerging Arts Professionals, a forum where she can further values she hopes will become more widespread within the field at large: honoring all generations, considering both artistic and cultural equity at every step, and legitimizing risk-taking.
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Community Investments FY2016 Organization Project Grants – Theater/Music Roberta D'Alois, Artistic Director, Jump! Theatre Roberta D'Alois is a playwright, monologist, and artistic director of Jump! Theatre, whose mission is to present theatrical work based on authentic stories of mental illness. She has a B.A. with honors in Theatre Arts from Brandeis University and an M.F.A in Playwriting from San Francisco State, where she also teaches. Her work includes the following plays: If You Do, If You Don’t, a musical, telling the story of a therapist and her deeply disturbed patient who may be a serial killer; The Flesh Is Willing, about a young priest whose dreams tell him to go to Afghanistan after the Bamiyan Buddhas are destroyed; and Athena! The Musical, a modern-day adaptation of the Athena-Arachne myth. Roberta was chosen as one of only 20 ATLAS playwrights for Theatre Bay Area's inaugural series for local playwrights. Mina Morita, Artistic Director, Crowded Fire Theater Company Mina Morita is the artistic director of Crowded Fire Theater, a critically acclaimed and vital company championing intrepid new play production in San Francisco. She is dedicated to the development of a contemporary theatre canon that reflects the diverse world in which we live. Previously, she served as the artistic associate at Berkeley Repertory Theatre and was part of the originating team for its Ground Floor Program, which is a center for the creation and development of new work. As a freelance director, she has worked with a number of Bay Area theatres including: ACT, Berkeley Rep, Shotgun Players, and Aurora Theatre Company’s Global Age Project. In 2014, Mina won the Theatre Bay Area Award for Outstanding Direction of a Musical for Min Kahng’s Where the Mountain Meets the Moon at Bay Area Children's Theatre. As an artistic leader, Mina serves on the Zellerbach Family Foundation’s Community Arts Panel, and was Board President of Shotgun Players, a guest lecturer at UC Berkeley, and one of the original founders of Bay Area Children’s Theatre where she served as interim executive director in 2011. Brian Freeman, Playwright, Theater Director, Actor Brian Freeman is a playwright, theater director and actor. Recently, Brian was Director of the BlackSmyth Lab at the Mark Taper Forum in Los Angeles, CA; and has served as a Resident Director of the New York Shakespeare Festival/Joseph Papp Public Theater . Brian has worked in theater and performance in the Bay Area for more than two decades, including a Wattis artist-in-residence at the Yerba Buena Center for the Arts. Brian was one of the founding members of the highly
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influential Pomo Afro Homos (Post-Modern African-American Homosexuals). He has received numerous awards and has served on many funding allocation panels. Olivia Malabuyo Tablante, Grants Manager, Wallace Alexander Gerbode Foundation Olivia Malabuyo Tablante is currently the Grants Manager at the Wallace Alexander Gerbode Foundation where she also manages the arts commissioning awards program in partnership with the William and Flora Hewlett Foundation. Prior to joining as Gerbode Foundation’s program assistant in 2006, Olivia served as Los Cenzontles Mexican Arts Center’s Administrative Manager, a managing director of San Francisco’s black box theater Bindlestiff Studio and over five years working with Tenants and Owners Development Corporation in senior and low-income housing development. Isabel Yrigoyen, Associate Director of Performing Arts, Yerba Buena Center for the Arts Isabel T. Yrigoyen produces the annual Performing Arts Presents Season at YBCA, which showcases 10-12 world-class performances by local, national and international artists, plus dozens of public programs. Under the leadership of Marc Bamuthi Joseph, the chief of programs and pedagogy, she works closely with Mr. Joseph to actualize his vision for the Performing Arts Presents programs. In addition, Ms. Yrigoyen serves on the YBCA curatorial team as a contributing music curator for the Performing Arts department.
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Community Investments FY2016 OPG Visual/Literary/Media Panelists Erika Gee, Senior Planner at Chinatown Community Development Center Erika Gee is a senior planner at the Chinatown Community Development Center, with a focus on creative placemaking. Erika is an art historian by training and an arts educator by vocation. She has both breadth and depth of experience in a variety of arts and cultural institutions in the Bay Area, Los Angeles and New York including the LA County Museum of Art, the Museum of Chinese in America, Museum for African Art, and the Angel Island Immigration Station Foundation. Most recently, Erika was the program fellow in arts and culture at the San Francisco Foundation. She has served as a panelist for the Institute of Museum & Library Services, New York State Council on the Arts, as well as a board member for Cultural Connections in the Bay Area. Erika received her B.A. in History/Art History from the University of California, Los Angeles, and her M.S. Ed. in Museum Education from Bank Street College of Education. Melorra Green, Independent Curator Melorra is a curator, artist, radio show host, and community activist. She is a native of Memphis, TN and has called San Francisco home for over 15 years. She is a graduate of Tennessee State University in Nashville (Speech, Communication, & Theatre), the Academy of Art University (Bachelors of Arts in Motion Pictures & Television), and the University of Phoenix (Masters of Arts in Education). Melorra serves as a member of the San Francisco Graffiti Advisory Board for District 5. Along with her twin sister, Melonie Green, Melorra has been curating creative art experiences and traditional exhibitions for over eight years. Together, they have a niche and love for bringing seemingly obscure worlds together to create a beautiful cohesive message that leaves the viewer feeling inspired and included and the creator feeling empowered and appreciated. Angelica Muro Angelica Muro received a MFA degree from Mills College in 2005, and a BA in Photography from San Jose State University in 1998. Recent exhibitions include Packing Heat, Slanguage, Wilmington CA, Feel the Difference: Cultural Branding Remix, Works/San Jose, San Jose, CA, Desastre, Mohr Gallery, Mountain View, CA, Better to Die on My Feet, Self-Help Graphics, Los Angeles, CA, and INTERSTICE, CAS gallery, Miami, Florida. Muro has completed commissioned artworks for MACLA (Movimiento de Arte y Cultura Latino Americana), which
2
included digital murals for O’Donnell Park Gardens and the exhibitions: Our Space: Youth Narratives, and Intersections: Reflections of Home and Migration as well as her most recent commission for Ao Dai: A Modern Design Coming of Age at the San Jose Museum of Quilts and Textiles. She is the recipient of the Herringer Family Foundation Award for Excellence in Art and the Trefethen Merit Award. Muro’s curatorial projects have been awarded grants from the Center for Cultural Innovation through the Creative Capacity Fund, the James Irvine Foundation for Intersections, and Adobe Youth Voices. She is co-founder, principal, and curator of Space 47 projects, and is an assistant professor and chair of Integrated Media and Photography at California State University, Monterey Bay in the department of Visual and Public Art. Kirthi Nath, Creative Director at Cinemagical Media Kirthi Nath is an award-winning filmmaker who believes that ordinary people ripple extraordinary change. Kirthi is the creative director and lead filmmaker at Cinemagical Media (www.cinemagicalmedia.com), a media production company that focus on creating films and workshops that support individuals, communities and companies to ‘be the cause that creates the effect’. She works with social entrepreneurs, values based companies and nonprofits to create films for our evolving culture. Kirthi’s films have featured cultural visionaries such as Jack Kornfield, Tara Sophia Mohr, Eve Ensler and Alice Walker and tell stories with bravery, courage and heart that bring messages alive and inspire social change. The films she’s produced has reached over 500,000 viewers. In addition to filmmaking, Kirthi teaches (in person and online) courses and delivers talks that focus on Creative Presence, Spiritually, Mindfulness and the Practice of Good. In 2014 she was a Made Grantee and taught a 4-session online course about Modern Day Mindfulness at Work. Previous to starting her own business, Kithi worked at BAVC for 9 years and with NIOT. While at BAVC, Kirthi produced the Student Emmy Award winning short “The Apollos” and at NIOT produced “Gunn High School Sings Away Hate”. Kevin B. Chen, Manager Artist Studio and Public Programs, de Young Museum Kevin B. Chen has been involved in the San Francisco Bay Area arts community for over two decades as a curator, writer, and visual artist. He was the Program Director of Visual Arts at Intersection for the Arts for over 15 years, where he curated over 60 exhibitions and hundreds of public programs, including solo exhibitions by Lebbeus Woods, Margaret Harrison, Hasan Elahi, Taraneh Hemami,
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Ala Ebtekar, Conrad Atkinson, Jenny Odell, Jamex & Einar de la Torre, Claudia Bernardi, Binh Danh, Weston Teruya & Michele Carlson, Victor Cartagena, and Marcos Ramírez ERRE. He has curated projects for Headlands Center for the Arts, de Young Museum, San Jose Institute of Contemporary Art, San Francisco Arts Commission Galleries, California Shakespeare Theater, San Francisco Friends of Chamber Music, and Chinese Culture Center of San Francisco & Kearny Street Workshop. His curatorial work has been reviewed in publications nationally, including Art in America, afterimage: the journal of media arts and cultural criticism, Sculpture Magazine, Art Papers, New Art Examiner, Art Nexus, Bidoun Magazine, Contemporary Magazine, Bitch Magazine, and the Huffington Post.
organization project grants | grant guidelines FY16 GRANT CYCLE | FOR PROJECTS TAKING PLACE MAY 2016 — JUNE 2017
APPLICATION DEADLINE: October 15, 2015 (email submission)*
For small to mid-size arts organizations in all genres
*A translation of this grant application is available upon request; however, only applications in English will be accepted.
Una traducción de esta solicitud de aplicación está disponible a petición; sin embargo, solamente se aceptarán solicitudes en inglés. Favor comunicarse con Kate Patterson-Murphy al 415-252-4638 ó [email protected] para una traducción al español.
Ang pagsasalin sa Tagalog ng aplikasyon para sa pagkalooban na ito ay makukuha kung hihingilin. Ngunit ang aplikasyon sa Ingles lamang ang aming tatanggapin. Para sa tulong, maaring i-contact si Cece Carpio, 415-554-6080 o [email protected].
San FranciscoArts Commission
Edwin M. Lee
Mayor
Tom DeCaigny
Director of
Cultural Affairs
Programs:
Civic Art Collection
Civic Design Review
Community Arts & Education
Cultural Equity Grants
Public Art
SFAC Galleries
Street Artist Licensing
25 Van Ness Avenue, Ste. 345
San Francisco, CA 94102
tel 415-252-2590
fax 415-252-2595
sfartscommission.org
facebook.com/sfartscommission
twitter.com/SFAC
City and County of
San Francisco
San FranciscoArts Commission
Edwin M. Lee
Mayor
Tom DeCaigny
Director of
Cultural Affairs
Programs:
Civic Art Collection
Civic Design Review
Community Arts & Education
Cultural Equity Grants
Public Art
SFAC Galleries
Street Artist Licensing
25 Van Ness Avenue, Ste. 345
San Francisco, CA 94102
tel 415-252-2590
fax 415-252-2595
sfartscommission.org
facebook.com/sfartscommission
twitter.com/SFAC
City and County of
San Francisco
San FranciscoArts Commission
Edwin M. Lee
Mayor
Tom DeCaigny
Director of
Cultural Affairs
Programs:
Civic Art Collection
Civic Design Review
Community Arts & Education
Cultural Equity Grants
Public Art
SFAC Galleries
Street Artist Licensing
25 Van Ness Avenue, Ste. 345
San Francisco, CA 94102
tel 415-252-2590
fax 415-252-2595
sfartscommission.org
facebook.com/sfartscommission
twitter.com/SFAC
City and County of
San Francisco
organizational project grants (OPG)grant guidelines | FY16 grant cycle
For projects taking place: May 2016 — June 2017
APPLICATION DEADLINE: October 15, 2015
about OPGThe Organization Project Grants (OPG) program supports small and mid-sized arts organizations in the production and presentation of artistic works, in all disciplines, accessible to the general public in San Francisco. OPG supports—in whole or in part—specific arts projects that have been determined to be of sufficient quality and benefit or interest to the community at large or to specific segments of the community. OPG grants may be used to fund art exhibitions and installations, film and video screenings, music and dance concerts, theater performances, on-line arts projects, literary readings and publications, workshops in various art forms, local arts festivals, and other activities in a similar vein. All art forms will be considered. For any questions about OPG, contact Program Officer Robynn Takayama 415-252-2598.
OPG GUIDELINES | 1
eligible request amountOrganizational Project Grants range from $15,000 to $20,000 depending on the category. Because funds are limited, grant awards may be between 75 - 100 percent of the grant request, but no less than 75 percent of a grant request will be rewarded.
cultural equityPriority funding goes to arts organizations that foster artistic expression deeply rooted in and reflective of historically underserved communities (SF ADMIN. CODE CHAPTER 68: CULTURAL EQUITY ENDOWMENT FUND. Sec. 68.6. PROJECT GRANTS). Organizations must align with one or more of SFAC’s cultural equity outcomes:
• Enhance understanding of and respect for diverse cultural traditions, heritages and forms of expression.
• Increase access and inclusivity in the experience of art and creativity for communities that have been historically underserved.
• Connect individuals from diverse cultures, ages, and economic means in an effort to strengthen communities and/or neighborhoods through the arts.
• Invest in artists rooted in historically underserved communities to build individual capacity, resilience and economic viability.
OPG GUIDELINES | 2
categoriesMINI ORGANIZATIONS: Support for up to $15,000 for organizations with a three-year average annual budget size of less than $150,000.
SMALL ORGANIZATIONS: Support up to $18,000 for organizations with a three-year average annual budget between $150,000 and $400,000.
MID-SIZE ORGANIZATIONS: Support up to $20,000 for organizations with a three-year average annual budget over $400,000 and up to $1.1 million.
native american arts & cultural traditions (NAACT-OPG)OPG now supports NAACT with support ranging from $15,000 to $20,000 to small and mid-sized arts organizations with a strong track record and demonstrated leadership that substantiates that they are authentically connected to a Native American community and engaged in significant programming that is rooted in Native American arts and cultural traditions. Funding is to support the production and presentation of artistic works, in all disciplines, that are accessible to the general public in San Francisco. NAACT-OPG is divided into the same sub-categories above.
important dates
August — September
October 15, 2015
November 2015 — January 2016
February 2016
March 2016
May 1, 2016 — June 30, 2017
Application Workshops
Applications Due
Panel Review
Funding Recommendations
Commission Approval
Grant Period
**SEE SFARTSCOMISSION.ORG FOR CALENDAR OF APPLICATION WORKSHOPS
applicant eligibility
• The organization (and its fiscal sponsor, if applicable) must be based in San Francisco.
• The organization must be tax-exempt under Internal Revenue Code Section 501(c)(3) or have a fiscal sponsor that is so qualified.
• The organization’s mission statement must be clearly focused on the development, production, and/or presentation of arts activities in San Francisco.
• NEW: The organization must demonstrate a continuing and stable presence in the community and provide documentation of at least four events over the previous two-years of creating and presenting original works to the public in San Francisco.
• Applicants must receive an average score of 75 percent or above by the review panel to be considered for funding. Funding is not guaranteed for a score of 75 percent or above, and is determined by the availability of funds.
• NEW: Applicants must not be in default on any grants or loans from: (1) SFAC, (2) other City departments (including, without limitation, Department of Children, Youth, and their Families; Office of Economic and Workforce Development; Mayor’s Office of Housing and Community Development; and Grants For The Arts), (3) Northern California Grantmakers Arts Loan Fund; (4) Northern California Community Loan Fund, (5) Community Arts Stabilization Trust; or (6) the Center for Cultural Innovation. This default clause was expanded due to the fact that SFAC has a fiduciary relationship with these particular organizations, through either shared City resources or other pooled philanthropic funds.
• The organization must be willing and able to meet the requirements associated with receiving funds from the City and County of San Francisco.
• The applicant organization cannot be from another City agency or department.
• The organization’s three-year average annual operating budget must not exceed $1.1 million in income or expense.
• A proposed project cannot receive simultaneous funds from multiple SFAC funding sources; this includes collaborators applying to work on different components of the same project and applying separately.
• Applicants cannot submit more than one application for the Organizational Project Grant category. An applicant cannot apply to both an OPG and a NAACT-OPG. This does not apply to fiscal sponsors who are submitting applications on behalf of different fiscally sponsored projects.
• NEW: Applicants cannot receive funding for two consecutive grant cycles.
• Organizations can request no more than 50 percent of its actual cash income of its last closed fiscal year.
• Organizations cannot receive both a Cultural Equity Initiative (CEI) and OPG in the same cycle.
• NEW: Any previously awarded OPG grants must be completed and closed out before applying for any additional grants in the OPG category.
• The awarding of funds does not imply that the Arts Commission or any other City agency will produce, exhibit, or present the art created. It is the responsibility of the applicant to secure a venue and any required permits for public presentations or workshops.
grant restrictions
1. Projects that will not culminate in a public art presentation in San Francisco or do not otherwise include significant public participation.
2. Projects aimed primarily at organizational development (see SFAC’s Cultural Equity Initiatives grants).
3. Deficit reduction.
4. Start-up costs/seed money for new organizations or businesses.
5. Food and beverage expenses.
funds cannot be used to support
• For NAACT-OPG: The organization must have a strong track record and demonstrated leadership that substantiates that they are authentically connected to a Native American* community and engaged in significant programming that is rooted in Native American arts and cultural traditions.
*Per the Human Rights Commission, Native American is defined as people of indigenous descent from North, Central, and South American heritage as well as Native Hawaiians, Samoans, Marshall Islanders, and the indigenous people of Guam (whether enrolled, federally or nationally recognized or not). All groups indicated are encouraged to apply, but due to limited funds, priority will go to artists that are affiliated and connected to groups falling under the jurisdiction of the United States.
OPG GUIDELINES | 4
project requirements
• Public Presentation Requirement: Projects must be developed and presented in San Francisco and culminate in a local public presentation or a meaningful, acces-sible engagement of the public within the grant period. They may be targeted at specific audiences, but they cannot be limited to “closed” audiences. Projects that involve radio or television broadcasting, as well as internet-distributed projects, should have a clear San Francisco orientation with particular articulation of, and attention to, the intended audience. The same is true of publication-based proj-ects and others that, by their nature, do not involve presence in a physical space. Applicants must include confirmation or a tentative commitment from a publicly accessible San Francisco venue for the project. Venues can be formal or informal and either the venue or the applicant must secure liability insurance.
• City Permits and Permissions: If the proposal includes components that require City permits or approval such as publicly installed art, street closures, sound ampli-fication in public space, or murals, the artist will be solely responsible for securing the necessary permits, permissions, and approvals. This planning should be reflect-ed in your project timeline. If you are partnering with a City agency, please provide a support letter from the agency with the application.
Please note that any art installed with these grant funds on property owned by the City and County of San Francisco or on private property, must be reviewed and approved by the San Francisco Arts Commission starting with the Visual Arts Committee of the Commission. This applies to murals, public sculpture, and similar projects. It will be the responsibility of the grantee to build this process into their grant plan and timeline. Please refer to the SFAC’s Public Art Program website to obtain helpful information about public art regulations:
Alignment with SFAC Goals (15 points; 25 for NAACT):
• The organization’s mission is arts related, and organization clearly articulates its alignment with one or more of SFAC’s intended cultural equity outcomes.
• FOR OPG-NAACT: Organization is authentically connected to its tribal heritage, affiliation and culture and clearly describes how it informs their artistic practice. (Priority given to organizations serving tribal and cultural heritages historically based within the jurisdiction of the United States—including Hawaii, Guam, etc.)
Artistic Merit (20 points):
• The organization demonstrates strong artistic merit or promise through its artistic history, accomplishments, and examples of previous work.
Quality of Proposed Project (35 points):
• Project goals, vision and process are clearly defined; demonstrate originality, clarity, and depth of concepts; and are relevent to past work.
• Ability to demonstrate the impact and benefits of the project, including qualitative and quantitative results
Ability to Complete the Project (30 points):
• Clarity of project timeline; qualifications of project’s team; viability of project budget; and overall fiscal health of applicant.
• Clearly articulates an appropriate in-depth outreach plan to identified target audience(s) and/or communities in relation to the public presentation plan.
15 The organization’s mission is arts related, and organization clearly articulates its alignment with one or more of SFAC’s intended cultural equity outcomes.
25. a) What is your organization’s mission statement? c) How does your organization foster artistic expression that is deeply rooted in and reflective of historically underserved communities? Answer this question in relation to your chosen SFAC cultural equity outcome(s). (See page 1)
10 NAACT-OPG Only: Organization is authentically connected to its tribal heritage, affiliation and culture and clearly describes how it informs their artistic practice.
(Priority given to organizations serving tribal and cultural heritages historically based within the jurisdiction of the United States--including Hawaii, Guam, etc.)
26 . Organization's Statement Addendum (For NAACT-OPG Applicants Only): a. Which indigenous communities does your project serve or focus on?
b. How is your organization authentically connected to these communities through tribal heritage, affiliation and culture? How does this connection inform your organization’s artistic practice and organizational work?
Alignm
ent w
ith SFAC G
oals
(15 po
ints)
(25 fo
r NAACT)
Artistic
Meri
t
(20 po
ints)
Artistic
Meri
t
(20 po
ints)
20 The organization demonstrates strong artistic merit or promise through its artistic history, accomplishments, and examples of work.
27. Describe your organizational history and highlight major accomplishments that are relevant to the proposed project.
Artistic
Meri
t
(20 po
ints)
28. Attached Calendar of Art Activities
29. Work SamplesArtis
tic M
erit
(20 po
ints)
Quality
of Prop
osed
Proj
ect
(35 po
ints)
Quality
of Prop
osed
Proj
ect
(35 po
ints)
25 Project goals, vision and process are clearly defined; demonstrate originality, clarity, and depth of concepts; and are relevent to past work.
30. Describe your proposed project in detail. What are your project goals? Describe the concepts, vision, process, and this project's relevance or departure from organization's past projects.
Quality
of Prop
osed
Proj
ect
(35 po
ints)
Quality
of Prop
osed
Proj
ect
(35 po
ints)
10 Ability to demonstrate the impact and benefits of the project, including qualitative and quantitative results
31. Describe how you will measure the impact of the project on the organization and audience/community, including qualitative and quantitative results.
Ability
to C
omple
te the
Projec
t
(30 po
ints)
Quality
of Prop
osed
Proj
ect
(35 po
ints)
Ability
to C
omple
te the
Projec
t
(30 po
ints)
Clarity of project timeline; qualifications of project's team; viability of project budget; and overall fiscal health of applicant.
20 13. Letter of Support (for City Permits & Permissions only)
Ability
to C
omple
te the
Projec
t
(30 po
ints)
Clarity of project timeline; qualifications of project's team; viability of project budget; and overall fiscal health of applicant. 32. Budget & Budget notes
33. "Review Complete" California Cultural Data Project & Budget Notes
34. Project Plan/Timeline
35. Staff & Project Personnel Capacity
Ability
to C
omple
te the
Projec
t
(30 po
ints)
Clarity of project timeline; qualifications of project's team; viability of project budget; and overall fiscal health of applicant.
10 Clearly articulates an appropriate in-depth outreach plan to identified target audience(s) and/or communities in relation to public presentation plan.
36. a) Describe the target audience(s) and/or communities and your relationship to them.
b) Describe your in-depth outreach plan to the identified target audience(s) and/or communities. (e.g. dissemination, marketing and publicity strategies, etc.)
Ability
to C
omple
te the
Projec
t
(30 po
ints)
21. Public Presentation Plan
22. Venue Letter of Interest
Ability
to C
omple
te the
Projec
t
(30 po
ints)
alignment of questions and criteria
You may use this table as a reference to aid you in answering the following questions.
organizational project grants (OPG)application review & approval process
application review
OPG applications are evaluated in an open panel review process. It is important to select the appropriate category for your proposed project. SFAC staff process applications and send them to panelists for review in advance of meeting. Prior to the review panel, you will receive an email containing information about the review schedule and instructions to attend the meeting. Please be sure that you include a working email address in your application materials. Take steps to ensure that emails from SFAC are not lost in your spam filter. Panelists will convene to discuss applications and make funding recommendations.
grants panelists
Grant review panelists reflect the diversity of San Francisco, have broad knowledge about the particular artistic discipline and field issues, and have experience that aligns with the purpose of the specific grant category.
attend panel review
OPG panel meetings are open to the public. A time schedule of each panel meeting is emailed to applicants in advance. Please be sure that you include a working email address in your application materials. Take steps to ensure that emails from SFAC are not lost in your spam filter. Applicants are welcome to observe the meetings, but may not engage in discussion with the panelists or SFAC staff during the panel. Many applicants find it insightful to listen to the discussions of applications because the panelists are seasoned professionals.
funding recommendations
Based on an evaluation of the proposals, panels may make recommendations for funding and grant amounts. Grant amounts are either the full amount of the grant sought or a substantial portion of the requested grant—and never less than 75 percent.
OPG GUIDELINES | 8
organizational project grants (OPG)how to submit your application packet
panel notes
SFAC staff takes notes on panel comments during deliberations. You may contact [email protected] to obtain panel comments.
funding approval
Panel recommendations are subject to the approval of the Arts Commission. Typically, recommendations are first reviewed by the Community Arts, Education & Grants Committee, then by the full Commission. Meetings of the Commission are public. The agenda will be available on the Arts Commission website at sfartscommission.org 72 hours in advance of the meeting.
grant awards
Notifications will be mailed. Award letters will include instructions about contracting procedures.
Email complete application and additional attachments in a single .pdf only to:
Include “16OPG: (organization name)” in the email subject line.
Example: 16OPG: Pegasus and Unicorns United for the Arts
Applications must be received by email. Hard copy, postal mail, and faxed applications will not be accepted. In fairness to others, we cannot accept late or incomplete applications. An application may be deemed incomplete and ineligible if the individual does not provide the complete set of information in the appropriate format by the deadline. No deadline extensions will be granted.
eligibility 8. CHECK THE BOX IF YOUR ORGANIZATION IS A 501(C)(3) ARTS ORGANIZATION: All
organizations are required to have a 501(C)(3) or have fiscal sponsorship through a San
Francisco based 501(C)(3) organization.
9. IF NOT A 501(C)(3) ORGANIZATION, NAME OF FISCAL SPONSOR: If your organization is
not a 501(C)(3), list the name of your fiscal sponsor, their San Francisco address, the contact’s
name, phone and email address. The fiscal sponsor will be required, upon receipt of the grant, to
submit a form verifying:
o The sponsored organization's project is compatible or consistent with the fiscal sponsor’s mission or purpose.
o The fiscal sponsor approves of the above referenced project, and has: o Reviewed the project. o Will pass, upon awarding of funds, a board resolution for the
adoption of the project. o Accepted legal responsibility to document the status and progress
of the project
o The fiscal sponsor is legally responsible for monitoring and controlling the expenditure of grant funds in keeping with the purpose of the grant.
o The fiscal sponsor is legally responsible for complying with the terms of the grant.
Upon awarding of funds, the fiscal sponsor will be asked to submit a copy of its IRS
501(c)(3) determination letter. The Board of Directors must formally approve a resolution
agreeing to be “Fiscal Sponsor” for the “Grant Applicant,” and must authorize the
execution of the grant agreement. A copy of that resolution, certified by the Board
Secretary, must be provided upon awarding of funds, if not previously provided.
10. ATTACH PROOF OF SAN FRANCISCO CORPORATE ADDRESS: Attach verifiable proof that the organization has a corporate address in San Francisco. This may be in the form of the IRS Tax Determination Letter, a utility or cable bill, lease or contract, mortgage statement, business license, or preprinted financial statement.
11. PLEASE LIST DATES/LOCATIONS OF FOUR PUBLICLY ACCESSIBLE ACTIVITIES IN SAN FRANCISCO WITHIN THE LAST TWO YEARS: The organization must be able to document four activities that have taken place in San Francisco over the previous two years to be eligible to apply.
12. CHECK THE APPROPRIATE CATEGORY FOR YOUR THREE-YEAR AVERAGE ANNUAL OPERATING BUDGET: Your organizational budget category is determined by the average of your cash income over the last three years. SFAC will base this average upon the information indicated in the CCDP Funder Report.
Each grant category has limits on the amount of the grant request and eligibility in efforts to broadly ensure an organization’s capacity to manage the proposed project. Your organization will be evaluated alongside organizations of similar organizational budget size in order to ensure the fair distribution of SFAC funds to organizations across the
OPG GUIDELINES | 11
budget spectrum.
• Mini-Organizations are those with a three-year average annual budget of less than $150,000.
• Small-Budget Organizations are those with a three-year average annual budget between $150,000 and $400,000.
• Mid-Size Budget Organizations are those with a three-year average annual budget over $400,000 and up to $1.1 million.
13. ATTACH LETTER(S) OF SUPPORT FOR PROJECTS REQUIRING CITY PERMITS OR PERMISSIONS. If your project requires permits or permissions from any other city agencies, please attach letters of support from the applicable agency that you are proposing to work with. The letter should be on the agency’s letterhead and include a signature by the main contact. A typed name will not be adequate evidence of signature. The letter should confirm that the agency is working with your organization for your proposed project, explain the agency’s role, and discuss why this is a good fit.
14. CHECK THIS BOX TO CONFIRM YOU ARE NOT IN DEFAULT FOR ANY GRANTS OR LOANS FROM: (1) SFAC, (2) other City departments (including, without limitation, Department of Children, Youth, and their Families; Office of Economic and Workforce Development; Mayor’s Office of Housing and Community Development; and Grants For The Arts), (3) Northern California Grantmakers Arts Loan Fund; (4) Northern California Community Loan Fund, (5) Community Arts Stabilization Trust; or (6) the Center for Cultural Innovation. (see guidelines pg.3 for more detail)
project information 15. PROJECT SUMMARY: Provide a brief summary of the proposed project in 75 words or less.
For example: “The San Francisco Theater is requesting $20,000 to support our 2017 season presenting new and contemporary work by a diverse body of playwrights. The season will include three main-stage productions and a series of public readings of plays in progress. Funding will support the artistic director’s salary.”
16. GRANT REQUEST AMOUNT: The maximum amount that can be requested is
$20,000 based upon the three-year average annual budget size. Due to limited funding, it is possible that recommendations will be made for less than what was requested, but never less than 75 percent of that amount.
a. Mini-Organizations with a three-year average annual budget of less than $150,000 can apply for up to $15,000.
b. Small-Budget Organizations with a three-year average annual budget between $150,000 and $400,000 can apply for up to $18,000.
c. Mid-Size Budget Organizations with a three-year average a n n u a l budget over $400,000 and up to $1.1 million can apply for up to $20,000.
17. NUMBER OF PAID ARTISTS INVOLVED IN THE PROPOSED PROJECT: Provide the total number of artists that will be paid for their direct involvement with the proposed project, regardless of whether the requested funding will go directly to artist fees.
18. ORGANIZATION ARTISTIC DISCIPLINE PRIMARY FOCUS: Please check only one box
OPG GUIDELINES | 12
which best represents the artistic discipline of the proposed project. SFAC uses this information to build diverse review panels that encompass the skills and expertise in the various disciplines reflected in the proposals.
19. ORGANIZATION ARTISTIC DISCIPLINE SECONDARY FOCUS: Please check only one box which best represents the secondary artistic discipline (if applicable) of the proposed project.
20. ARE YOU APPLYING FOR THE NATIVE AMERICAN ARTS AND CULTURAL TRADITIONS ORGANIZATION PROJECT GRANT (NAACT-OPG)?: Organizations that check “Yes” will be required to answer question 26. These applications will be reviewed by a panel of community members that represent the Native American community in San Francisco.
21. PUBLIC PRESENTATION PLAN: All projects are required to have a publicly accessible presentation of their project. Please include at least one event that will highlight the funded project, the date that you estimate it will be presented, where it will be presented, and which supervisor’s district the presentation will take place.
22. ATTACH VENUE LETTER OF INTEREST This letter should be on the venue’s letterhead
and include a signature by the main contact. A typed name will not be adequate evidence of signature. The letter should confirm that the venue may be used for your proposed project within the grant window.
23. PROJECTED AUDIENCE NUMBER TO BE REACHED BY THE PROPOSED PUBLIC ACTIVITY(IES): Tell us how many people, paid and free, do you hope to attend the public activity.
24. IF THE PROJECT IS WEB-BASED, PROJECTED AUDIENCE NUMBER TO BE REACHED:
Tell us the number of unique web visitors to the project page.
section 1: alignment with sfac goals 25. ORGANIZATION’S MISSION AND STATEMENT: This mission statement should clearly
indicate that the organization is focused on the development, production, and/or presentation of arts activities to be eligible for a grant in this category.
In addition, and i f appl icable , the applicant should explain how their organization fosters artistic expression that is deeply rooted in and reflective of historically underserved communities, as reflected by the chosen outcome(s). Simply being located in a historically underserved community or periodically offering programs addressing a historically underserved community does not equate to being deeply rooted and reflective of that community.
Using both the Cultural Equity Endowment Legislation and the Grantmakers in the Arts “Racial Equity: Statement of Purpose,” historically underserved communities include: African, Latino(a), Asian, Arab, Native American, Pacific Islander, LGBTQ, People with Disabilities, and Women.
As outlined by the Cultural Equity Endowment Legislation, the majority of funding is to go to organizations that represent historically underserved communities. Based upon the strength of the application and the role that an organization plays within the community, the panel may make funding recommendations to organizations that are not deeply
OPG GUIDELINES | 13
rooted and reflective of historically underserved communities.
26. ORGANIZATION’S STATEMENT ADDENDUM: for NAACT-OPG applicants only:
a) State which indigenous communities your project serves or focuses on.
(b) Organizations applying under the NAACT category need to clearly explain how their organization, leadership, and programming is authentically connected to and reflective of the Native American community in San Francisco. Explain how this connection informs your organization’s artistic practice and organizational work.
Per the Human Rights Commission, Native American is defined as people of indigenous descent from North, Central, and South American heritage as well as Native Hawaiians, Samoans, Marshall Islanders, and the indigenous people of Guam (whether enrolled, federally or nationally recognized or not). All groups indicated are encouraged to apply, but due to limited funds, priority will go to organizations that are primarily affiliated and connected to groups falling under the jurisdiction of the United States.
section 2: artistic merit
27. ORGANIZATIONAL HISTORY: Describe your organizational history and highlight major accomplishments that will support the successful completion of the proposed project.
28. ATTACH CALENDAR OF ART ACTIVITIES: Attach your organization’s calendar of arts activities for three years: the last completed program year, current year, and proposed next year.
29. WORK SAMPLES: Fill out the Work Sample Template according to the instructions. Material and time limits are strict. Panelists will review your artistic work samples in advance of the panel meeting.
Submit samples that:
• Demonstrate your skill in the art form(s), manifestation or treatment of ideas, etc.
• Are high production quality with clarity of sound and image.
• Are recent (from the last two years whenever possible).
• Are relevant to the proposed project. If the most relevant project is older than two years, we recommend a balance of newer and most relevant samples.
• In some cases, it may be helpful to show an excerpt of the work-in-progress if your proposal hinges on a project already underway. However, be sure that documentation is high quality and you set the proper context for the stage of work being shared.
Work sample descriptions contextualize each work sample by stating discipline-specific and pertinent information:
• Title, date, venue, length of work, dimensions, and medium.
• If the work was done in collaboration with other organizations or presenters, state your organization’s role in the production.
• Explain the sample’s relevance to your proposed project if (1) the proposed project is
OPG GUIDELINES | 14
a major departure from the style, genre, or discipline presented in your work sample; (2) the sample document is a work-in-progress; and/ or (3) the work is that of a collaborator or commissioned artist outside of your usual work.
Follow work sample preparation instructions and limits by media type:
1. Work samples must NOT add up to more than 4 minutes of playback time. You
may submit a combination of media formats, but are limited to two media types.
Samples should not be less than 1 minute so that panelists can clearly see the arc
of movement, complete thought, or sufficient grasp of a theme.
For example: You may combine media types to include a 1-minute song and a
3-minute video; 4-images and 2-minutes of video; or two 2-minute songs. Three
1-minute videos/songs is permissible only if one is that of a collaborator.
2. Include instructions and time-stamps that cue panelists to the portion you want
played.
3. Format instructions: Work samples that cannot be included in your emailed
.pdf must be hosted online through your website or a third party platform
(Soundcloud, Vimeo, etc.). Please be sure to include log in instructions if your
content is restricted. If panelists cannot access your work sample it will not be
reviewed:
• audio
o Must be hosted on an accessible site such as Soundcloud;
o 4 minutes maximum, 2 minutes if combining with another
medium
• video
o Must be hosted on an accessible site such as Vimeo;
o 4 minutes maximum, 2 minutes if combining with another
medium
• images
o Must be included in PDF
o 8 maximum, 4 if combining with another medium
• film treatments, scripts, literary manuscripts, and publications
o Must be included in PDF o Literary manuscripts and film treatments: 10pg. maximum, 5pg
max. if combined with other medium
• scripts: o Must be included in PDF o 20 page maximum,10 page max. if combining with another
medium
• Do not direct panelists to look at whole websites without specific instructions indicating content that falls within the limits above. Samples that fall outside of the instructions given will be removed.
4. Provide URL and any navigation information or passwords.
5. Always test your final work sample before submitting.
OPG GUIDELINES | 15
section 3: quality of proposed project 30. PROJECT DESCRIPTION: Describe your proposed project in detail ensuring that project goals, vision, and process are clearly defined.
31. EVALUATION: Describe your desired outcomes and how you will measure the impact of the project on the organization and target audience and/or community. Clearly articulated outcomes will help panelists understand the impact of the proposed project and how you will measure success.
section 4: ability to complete the project 32(a) PROPOSED BUDGET: For OPG, grant funds are now for general operating and can be allocated to line items that are not project specific, subject to the restrictions set forth in the OPG Grant Guidelines.
o Line 1: Enter the total amount of the SFAC grant you are requesting. The CCDP will be used to verify the three-year average annual budget and actual cash income.
Mini Organizations with a three-year average annual budget size of less than $150,000 can request up to $15,000.
Small Organizations with a three-year average annual budget between $150,000 and $400,000 can request up to $18,000.
Mid-Size Organizations with a three-year average annual budget above $400,000 and up to $1.1 million can request up to $20,000.
o Line 2 - Line 8: Include any confirmed or pending contributions to the proposed project. Use the budget notes to explain the sources of the income and the anticipated date the funds will be confirmed.
o Line 9: Include any other sources of contributed income for the proposed project that are not covered in the previous line items. Use the budget notes to explain the source and details of the income.
o Line 10-13: Enter the amount of projected income from the indicated items for the proposed project. Use the budget notes to explain the cost breakdown.
o Line 14: Include any other sources of anticipated earned income not covered in the previous line items. Use the budget notes to further explain.
o Line 15: Add the total of contributed funds to the total of earned revenue anticipated for the project.
(b) BUDGET NOTES Budget notes are required because they provide a level of detail that helps the panelists understand how you arrived at your amounts, as well as an opportunity to explain external or unusual factors and your decision-making process. This is of particular importance for allocation to line items that are not project-based. Panelists carefully review budgets and budget notes.
Discuss any significant in-kind support in your budget notes.
OPG GUIDELINES | 16
INCOME
o Lines 2-6: Indicate your plans for obtaining additional support (indicate: secured, pending, to apply) and if you have had previous success with each support source.
o Line 10: Admissions/Ticket Sales: Be as detailed as you can in your budget notes and explain how the numbers are derived. For example, anticipated ticket sales for $1,000, can explained as: Ticket Sales (100-seat venue/50% capacity/ 2 nights/ @ $10 each) = $1,000
o Line 11: Tuitions/Workshops/Lecture Fees should include a breakdown. For example, Tuition (25 students @ $100 each) = $2,500; Workshops (20 students/2 workshops @ $50 each) = $2,000; Lecture Fees (2 @ $250 each) = $500
o Line 12: Product Sales/Concessions should include a breakdown and description. For example, Product Sales (100 programs @ $10 each) = $1,000; Concessions (2 events @ $200 each) = $400
EXPENSES
o Line 16: ARTISTIC includes a breakdown of all of the artists you anticipate paying for the proposed project. For example: 1 Lead Artist / 8 hours @ $100 an hour = $800; 2 Assistant Artists / 8 hours each @ $50 each = $800
o Line 17: ADMINISTRATIVE includes a breakdown of the amount of time that administrative positions will be utilized to implement the proposed project. For example: Executive Director – 20% FTE @ $80,000 = $16,000 per year.
o Line 21: FACILITY COSTS / RENT would include a portion of the total costs associated with housing the organization. For example: Rent – 5% of $30,000 = $1,500 per year; maintenance costs – 5% of $20,000 = $1,000 per year.
o Line 26: OTHER PROJECT EXPENSES are any expenses that don’t fit into the other line items associated with the project, such as licensing.
o Line 27: ADMIN/INDIRECT is allowable for 10 percent of the personnel expenses to be covered by the SFAC grant. This would not be allowable for personnel expenses that are anticipated to be covered by other funding sources. For example, the total personnel expenses to be covered by the SFAC grant is $30,000 per year, then the total amount that can be claimed for ADMIN/INDIRECT would be $3,000 per year.
o Line 28: TOTAL GRANT EXPENSES: the total of the amount requested.
33. ATTACH A “REVIEW COMPLETE” CALIFORNIA CULTURAL DATA PROJECT (CCDP) FUNDER REPORT & BUDGET NOTES: Applicants are required to submit a Cultural Data Project Funder Report that includes Review Complete data for your three most recently completed fiscal years. You can find more information about what Review Complete means here: http://culturaldata.force.com/Resources/articles/Article/What-does-my-Data-Profile-status-mean Be sure to select the correct funder report. The correct header will read, “San Francisco Arts Commission” and the specific name of the grant category you are applying for: Organization Project Grants. It is expected that if six months have passed, your last fiscal year will be entered into The CCDP profile. Embed the CCDP report in your application .pdf in the order listed in the application checklist, and email in the application packet as one .pdf file only. Panelists will use your CCDP Funder Report to better understand your organization’s financial position. Attach typed Budget Notes that correspond with your CCDP report. Organizations with a reserve or operating surplus should provide budget notes that explain your reserve policy or plans for use of the surplus. Organizations with accumulated deficits must provide budget notes that detail how the deficit developed and plans for the deficit reduction. Organizations that hold outstanding loans or have defaulted on loans must include budget notes that detail
OPG GUIDELINES | 17
the terms of the loan repayment or circumstances of the default. Any line item that varies 50 percentor more from the previous year should be accompanied by explanatory notes.
34. PROJECT PLAN: Identify the primary project activities that will happen within the time frames indicated. The activities should be broken down to correspond with the required reporting and invoice timeframes. If your project will require permits, make sure to figure out the time frame for obtaining them within your project.
35. STAFF & PROJECT PERSONNEL BIOS: Provide brief bios of key staff and/or project personnel. Include a brief description of how each of these individuals will contribute to successful implementation of proposed project. Please do not attach resumes. 36. OUTREACH PLAN: Clearly articulate an appropriate outreach plan in relation to the target audience and the public presentation plan. Panelists will look at the various outreach activities to ensure that they are the most appropriate and effective form of outreach for the intended audience.
OPG GUIDELINES | 18
organization project grants | grant application FY16 GRANT CYCLE | FOR PROJECTS TAKING PLACE MAY 2016 — JUNE 2017
APPLICATION DEADLINE: October 15, 2015 (email submission)*
For small to mid-size arts organizations in all genres
*A translation of this grant application is available upon request; however, only applications in English will be accepted.
Una traducción de esta solicitud de aplicación está disponible a petición; sin embargo, solamente se aceptarán solicitudes en inglés. Favor comunicarse con Kate Patterson-Murphy al 415-252-4638 ó [email protected] para una traducción al español.
Ang pagsasalin sa Tagalog ng aplikasyon para sa pagkalooban na ito ay makukuha kung hihingilin. Ngunit ang aplikasyon sa Ingles lamang ang aming tatanggapin. Para sa tulong, maaring i-contact si Cece Carpio, 415-554-6080 o [email protected].
San FranciscoArts Commission
Edwin M. Lee
Mayor
Tom DeCaigny
Director of
Cultural Affairs
Programs:
Civic Art Collection
Civic Design Review
Community Arts & Education
Cultural Equity Grants
Public Art
SFAC Galleries
Street Artist Licensing
25 Van Ness Avenue, Ste. 345
San Francisco, CA 94102
tel 415-252-2590
fax 415-252-2595
sfartscommission.org
facebook.com/sfartscommission
twitter.com/SFAC
City and County of
San Francisco
San FranciscoArts Commission
Edwin M. Lee
Mayor
Tom DeCaigny
Director of
Cultural Affairs
Programs:
Civic Art Collection
Civic Design Review
Community Arts & Education
Cultural Equity Grants
Public Art
SFAC Galleries
Street Artist Licensing
25 Van Ness Avenue, Ste. 345
San Francisco, CA 94102
tel 415-252-2590
fax 415-252-2595
sfartscommission.org
facebook.com/sfartscommission
twitter.com/SFAC
City and County of
San Francisco
San FranciscoArts Commission
Edwin M. Lee
Mayor
Tom DeCaigny
Director of
Cultural Affairs
Programs:
Civic Art Collection
Civic Design Review
Community Arts & Education
Cultural Equity Grants
Public Art
SFAC Galleries
Street Artist Licensing
25 Van Ness Avenue, Ste. 345
San Francisco, CA 94102
tel 415-252-2590
fax 415-252-2595
sfartscommission.org
facebook.com/sfartscommission
twitter.com/SFAC
City and County of
San Francisco
application submission
Email complete application and additional attachments in a single .pdf only to:
Include “16OPG: (organization name)” in the email subject line.
Example: 16OPG: Pegasus and Unicorns United for the Arts
Applications must be received by email. Hard copy, postal mail, and faxed applications will not be accepted. In fairness to others, we cannot accept late or incomplete applications. An application may be deemed incomplete and ineligible if the individual does not provide the complete set of information in the appropriate format by the deadline. No deadline extensions will be granted. PLEASE NOTE: The grant application form is a fillable PDF that limits entry based on the defined word count for each question. We strongly advise you to prepare your narrative draft in a separate document and then paste the completed answers into the form when you are ready to submit the complete application. If you draft your narrative directly into the PDF, it’s possible that you could lose some of your writing.
application form 1. Grant Applicant:
2. Contact Person + Title:
3. San Francisco Corporate Address:
4. Mailing Address if Different:
5. Day Phone: Mobile:
6. Email: Website: Provide a valid email. Panel notices and important grant information will be sent via email.
7. Number of the supervisor’s district where organization is located:District numbers can be found at: propertymap.sfplanning.org
eligibility
8. Check the box if your organization is a 501(c)(3) arts organization:
9. If not a 501(C)(3) organization,
a) Name of fiscal sponsor:
b) San Francisco Address of Fiscal Sponsor:
c) Contact Name: b) Phone: d) Email:
10. Attach proof of San Francisco Corporate Address
11. Please list dates/locations of last FOUR publicly accessible activities in San Francisco since October 2013:
Date Brief Activity Description Place/VENUE
OPG APPLICATION | 1
12. Check the appropriate category for your three-year average annual operating budget: (as shownon organization’s California Cultural Data Project SFAC funder report)
Mini Org: Three-year average annual budget less than $150,000
Small Org: Three-year average annual budget between $150,000 & $400,000
Mid-size org: Three-year average annual budget over $400,000 & up to $1.1 million
13. Attach Letter(s) of Support (FOR PROJECTS REQUIRING CITY PERMITS OR PERMISSIONSONLY):
14. Check this box to confirm you are not in default for any grants or loans from: SFAC, other Citydepartments, Northern California Grantmakers Arts Loan Fund, Northern California Community Loan Fund, Community Arts Stabilization Trust, or the Center for Cultural Innovation (see guidelines for
more detail):
project information
15. PROJECT SUMMARY: summarize your proposed project in 75 words or less.
16. Grant request amount:
17. Number of paid artists involved in the proposed project:
DANCE LITERARY ARTS MEDIA ARTS MUSIC THEATER ARTS VISUAL ARTS
FOLK & TRADITIONAL ARTS, PLEASE SPECIFY
20. Are you applying for the Native American Arts and Cultural Traditions OPG grant (NAACT-OPG)?
YES NO
If you checked “Yes”, please fill out question #26.
OPG APPLICATION | 2
wordcount:
21. Public Presentation Plan: Please list the public presentation(s) that will highlight your proposedproject to meet the requirements of the grant (You are required to attach a Venue Letter of Interest for the proposed site of your public presentation):
A. PUBLIC EVENT B. DATE C. FACILITY NAME/ADDRESS
D.SUPERVISOR’S DISTRICT
22. Attach Venue Letter of Interest (if applicable— see instructions for more details:
23. Projected audience number to be reached by the proposed public activity(ies):
24. If the project is web-based, projected audience number to be reached:
OPG APPLICATION | 3
section 1: alignment with SFAC goals (15 points, 25 for NAACT)
25. Organization’s Mission and Statement:
a) What is your organization’s mission statement? (Please describe even if disclosed elsewhere inapplication)
b) Select one or more of SFAC’s cultural equity outcomes that best align with your organization.
Enhance understanding of and respect for diverse cultural traditions, heritages and forms of expression.
Increase access and inclusivity in the experience of art and creativity for communities that have been historically underserved.
Connect individuals from diverse cultures, ages, and economic means in an effort to strengthen communities and/or neighborhoods through the arts.
Invest in artists rooted in historically underserved communities to build individual capacity, resilience and economic viability.
c) How does your organization foster artistic expression that is deeply rooted in and reflective ofhistorically underserved communities? Answer this question in relation to your chosen outcome(s). (250 words)
a) Which indigenous communities does your project serve or focus on?
b) How is your organization authentically connected to these communities through tribal heritage,affiliation and culture? How does this connection inform your organization’s artistic practice and organizational work? (250 words)
OPG APPLICATION | 5
wordcount:
URL Link:
Navigation notes:
Title of Work:
Medium:
Artists Involved:
Year Work Created:
Venue:
Dimensions or Total Duration:
Duration of Sample:
Short Description of Work:
section 2: artistic merit (20 points)
27. Describe your organizational history and highlight major accomplishments that are relevant to,and support, the successful completion of the proposed project. (300 words)
28. Attach Calendar of Art Activities: Attach your organization’s calendar of art activities for threeyears: the last completed program year, current year, and proposed next year.
29. Attach Work Samples & Descriptions:See application instructions for more information on acceptable work samples. If you are not providing URL links to your work samples, please embed them to your application .PDF. Make sure to attach work sample descriptions using the following format:
SAMPLE #
OPG APPLICATION | 6
wordcount:
section 3: quality of proposed project (35 points)
30. Project Description: Describe your proposed project in detail. What are your project goals?Describe the concepts, vision, process, and this project's relevance or departure from the organization's past projects. (600 words)
OPG APPLICATION | 7
wordcount:
31. Evaluation: Describe how you will measure the impact of the project on the organization andaudience(s) and/or community, including qualitative and quantitative results. (250 words)
OPG APPLICATION | 8
wordcount:
section 4: ability to complete the project (30 points)32. a) Proposed Budget:
PROJECTED INCOMECONTRIBUTED
1. SFAC OPG GRANT REQUESTED2. GOVERNMENT – FEDERAL
3. GOVERNMENT – STATE4. GOVERNMENT – LOCAL/MUNICIPAL
5. BUSINESSES/CORPORATIONS6. FOUNDATIONS
7. INDIVIDUALS8. FUNDRAISING
9. OTHER (SPECIFY IN BUDGET NOTES)SUBTOTAL CONTRIBUTED
13. CONTRACTED SERVICES/PERFORMANCE FEES14. OTHER (SPECIFY IN BUDGET NOTES)
SUBTOTAL EARNED 15. TOTAL PROJECT SUPPORT (NOT INCLUDING IN-KIND)
EXPENSE SFAC PROJECT EXPENSE:
PERSONNEL (INDICATE NUMBERS OF PERSONNEL IN YOUR BUDGET NOTES) 16. ARTISTIC
17. ADMINISTRATIVE18. TECHNICAL AND PRODUCTION
19. OTHER SERVICES (DETAIL IN BUDGET NOTES)SUBTOTAL PERSONNEL EXPENSE
NON-PERSONNEL
20. PRODUCTION & EXHIBITION COSTS21. FACILITY EXPENSES/SPACE RENTAL
22. ADMINISTRATION EXPENSES & SUPPLIES23. ADVERTISING AND MARKETING
24. INSURANCE25. FUNDRAISING EXPENSES
26. OTHER PROJECT EXPENSES (SPECIFY IN NOTES)27. ADMIN/INDIRECT
SUBTOTAL NON-PERSONNEL EXPENSE
28. TOTAL GRANT EXPENSES
OPG APPLICATION | 9
b) Budget Notes
INCOME
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
EXPENSE
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
33. Attach a "Review Complete" California Cultural Data Project (CCDP) SFAC funder report & budgetnotes. The organization’s financial and audience history as reflected in the CCDP should support the feasibility of the project plan, project budget and budget notes.
OPG APPLICATION | 10
34. Project Plan: outline your project timeline
Identify the primary project activities that will happen within the time frames indicated below.
TO BE COMPLETED BY DECEMBER 31, 2016:
1 2 3 4
TO BE COMPLETED BY JUNE 30, 2017:
5 6 7 8
35. Attach Staff and/or Project Personnel Bios: Include brief bios of key staff and/or projectpersonnel. Also include a brief description of how each of these individuals will contribute to the successful implementation of the proposed project.
36. Outreach Plan:
a) Describe the target audience(s) and/or communities in your public presentation plan (seequestion #21) and your relationship to them. (75 words)
b) Describe your in-depth outreach plan to the identified target audience(s) and/or communities.(e.g. dissemination, marketing and publicity strategies, etc.) (200 words)
OPG APPLICATION | 11
wordcount:
wordcount:
application checklist
Please prepare a single .pdf containing the following documents in the order listed:
Application Form Including eligibility, project information and narrative sections, and budget materials
IRS Tax Determination Letter (if applicable) If you or your fiscal sponsor has never received an SFAC grant
Proof of San Francisco Corporate Address
Letter of Support (For Projects Requiring City Permits or Permissions Only)
Venue Letter of Interest Letters of interest from venues connected to your proposal.
Calendar of Art Activities Attach your organization’s calendar of art activities for three years: the last completed program year, current year, and proposed next year.
Work Samples & DescriptionsSee application instructions for more information on acceptable work samples. Make sure to attach work sample descriptions using the format provided above.
"REVIEW COMPLETE" CCDP SFAC Funder Report & Budget Notes Attach a review complete California Cultural Data Project (CCDP) SFAC funder report & budget notes
Staff and/or Project Personnel Bios
certification (required)
I certify that by submission of these documents, to the best of my knowledge, I meet all the eligibility requirements for the FY2015—2016 Organization Project Grant, and that all answers and data in this application, and contained in any attachments, are true and correct.
