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"content": "\u003cp>The Oakland City Council on Dec. 2 voted to reinstate the city’s cultural affairs manager position, \u003ca href=\"https://oaklandside.org/2025/12/08/oakland-cultural-affairs-manager-reinstated-arts-fife/\">Oaklandside first reported\u003c/a>. The decision comes after artists campaigned for the city to rehire for the position, which oversees public arts funding and raises money for cultural programs through private grants.\u003c/p>\n\u003cp>After former Cultural Affairs Manager Roberto Bedoya retired in 2024, the City of Oakland eliminated his position in its latest budget, passed in June 2025. That move prompted an outcry from Oakland artists and leaders from prominent organizations like the Oakland Symphony, Oakland Ballet Company and Living Jazz, who argued that the cultural affairs manager serves as a crucial liaison between Oakland artists, the city and funders.\u003c/p>\n\u003cp>“As simply as I can put it, the arts will not get by without this position,” artist and activist Cat Brooks told \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">KQED in July\u003c/a> during a protest on the city hall steps. “Anyone who is in the Town, lives in the Town or loves the Town knows that arts and culture is our heartbeat. So if you’re interested in the heartbeat of Oakland, this position matters to you.”\u003c/p>\n\u003cfigure id=\"attachment_13978250\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Whang, chair of the Oakland Cultural Affairs Commission, gives public comment at an Oakland City Council meeting advocating against the elimination of the Cultural Affairs Manager position from the city budget in Oakland on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hired as the cultural affairs manager in 2016, Bedoya authored the city’s first cultural plan, lobbied against cuts to the arts and raised millions of dollars through public-private partnerships — which is crucial, supporters maintained, considering Oakland only allocates about \u003ca href=\"https://oaklandside.org/2023/05/09/oakland-budget-mayor-sheng-thao-arts-culture-funding/\">1% of its budget to the arts\u003c/a>. The cultural affairs manager also oversees the Cultural Affairs Commission, a volunteer body of arts advocates that advises the city.\u003c/p>\n\u003cp>“The most positive narrative that we have for Oakland right now is our culture,” said Cultural Commission Chair Vanessa Whang at a July 1 city council meeting. “That’s why we get mentioned in \u003cem>The New York Times\u003c/em>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>City spokesperson Jean Walsh told Oaklandside that more than 200 people from across the country applied for the Oakland cultural affairs manager position when applications opened from August to September. Walsh added that a panel of experts is interviewing finalists now and will make a hire in the next couple of weeks. The new cultural affairs manager will likely start in the new year. For now, existing program work is being managed by current city staff.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland City Council on Dec. 2 voted to reinstate the city’s cultural affairs manager position, \u003ca href=\"https://oaklandside.org/2025/12/08/oakland-cultural-affairs-manager-reinstated-arts-fife/\">Oaklandside first reported\u003c/a>. The decision comes after artists campaigned for the city to rehire for the position, which oversees public arts funding and raises money for cultural programs through private grants.\u003c/p>\n\u003cp>After former Cultural Affairs Manager Roberto Bedoya retired in 2024, the City of Oakland eliminated his position in its latest budget, passed in June 2025. That move prompted an outcry from Oakland artists and leaders from prominent organizations like the Oakland Symphony, Oakland Ballet Company and Living Jazz, who argued that the cultural affairs manager serves as a crucial liaison between Oakland artists, the city and funders.\u003c/p>\n\u003cp>“As simply as I can put it, the arts will not get by without this position,” artist and activist Cat Brooks told \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">KQED in July\u003c/a> during a protest on the city hall steps. “Anyone who is in the Town, lives in the Town or loves the Town knows that arts and culture is our heartbeat. So if you’re interested in the heartbeat of Oakland, this position matters to you.”\u003c/p>\n\u003cfigure id=\"attachment_13978250\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Whang, chair of the Oakland Cultural Affairs Commission, gives public comment at an Oakland City Council meeting advocating against the elimination of the Cultural Affairs Manager position from the city budget in Oakland on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hired as the cultural affairs manager in 2016, Bedoya authored the city’s first cultural plan, lobbied against cuts to the arts and raised millions of dollars through public-private partnerships — which is crucial, supporters maintained, considering Oakland only allocates about \u003ca href=\"https://oaklandside.org/2023/05/09/oakland-budget-mayor-sheng-thao-arts-culture-funding/\">1% of its budget to the arts\u003c/a>. The cultural affairs manager also oversees the Cultural Affairs Commission, a volunteer body of arts advocates that advises the city.\u003c/p>\n\u003cp>“The most positive narrative that we have for Oakland right now is our culture,” said Cultural Commission Chair Vanessa Whang at a July 1 city council meeting. “That’s why we get mentioned in \u003cem>The New York Times\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>City spokesperson Jean Walsh told Oaklandside that more than 200 people from across the country applied for the Oakland cultural affairs manager position when applications opened from August to September. Walsh added that a panel of experts is interviewing finalists now and will make a hire in the next couple of weeks. The new cultural affairs manager will likely start in the new year. For now, existing program work is being managed by current city staff.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/national-endowment-for-the-humanities\">National Endowment for the Humanities\u003c/a> (NEH) has unexpectedly reinstated a portion of funding to nonprofits and state humanities councils after \u003ca href=\"https://www.kqed.org/arts/13974737/bay-area-arts-trump-cuts-national-endowment-of-the-humanities\">millions of dollars in previously awarded grants were canceled\u003c/a> on April 3. \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a>, one of those recipients, is now scrambling to get that money into the hands of \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">its grantees\u003c/a>.\u003c/p>\n\u003cp>“We don’t know why,” said Rick Noguchi, president and CEO of California Humanities, of the notice he received on June 25 that some funding had been restored. “There was no explanation. It just said the termination has been rescinded.”\u003c/p>\n\u003cp>California Humanities previously received over 90% of its funding from the NEH; Noguchi estimated about half of their funding is now available to them.\u003c/p>\n\u003cp>[aside postID='arts_13974246']“The good news for us is that we are able to access some funds,” Noguchi said. The organization’s number-one priority is now to get those funds to their grantees, including documentary filmmakers, theaters, museums, storytelling projects and public events across the state.\u003c/p>\n\u003cp>California Humanities has over 110 open grants, all of which were suspended on April 4 after NEH funding was canceled. Now California Humanities staff are working to distribute that money to everyone who still needs it. Over the past three months, Noguchi said, “Some groups might have paused their project or canceled them outright without our funding.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right now, California Humanities intends to fully disburse all outstanding grants. But Noguchi cautions that like this sudden “rescinded termination,” the situation at the federal level could change unexpectedly. “It’s been really challenging having to manage and navigate through a lot of this uncertainty,” he said. “In this environment, you can expect the unexpected.”\u003c/p>\n\u003cp>Some of the challenges come from the fact that the NEH is noticeably understaffed. Approximately \u003ca href=\"https://www.usatoday.com/story/news/politics/2025/06/10/employee-layoffs-national-endowment-humanities-grants/84124320007/\">two-thirds of NEH employees\u003c/a> were laid off on June 10.\u003c/p>\n\u003cp>At least one other NEH grantee (the agency also supplies grants directly to nonprofits, in addition to state councils) received notice that their funding had also been reinstated. The Chinese Historical Society of America and the WWII Chinese American GI Project will now be able to close out their series of \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=AV-286762-22\">discussions with Chinese American veterans\u003c/a>. “Unfortunately,” project director Montgomery Hom wrote to KQED in an email, “all the NEH program team members that I was working with previously are gone.”\u003c/p>\n\u003cp>[aside postID='arts_13975509']For nearly 50 years, the partnership between the NEH and state humanities councils have provided funding to cultural and community organizations in all states and jurisdictions. Now, Noguchi said, California Humanities is reimagining what it is as an organization, facing a potential future without any NEH funding — or an NEH at all.\u003c/p>\n\u003cp>While California Humanities is seeking new funding from philanthropic partners, Noguchi stressed that private money will never be able to match federal funding, especially on an ongoing basis. California Humanities is urging Congress to restore the NEH’s budget in FY26.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Culture is so important to who we are as Californians,” Noguchi said. “And it really requires everyone’s input and participation in democracy to maintain our identity.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/national-endowment-for-the-humanities\">National Endowment for the Humanities\u003c/a> (NEH) has unexpectedly reinstated a portion of funding to nonprofits and state humanities councils after \u003ca href=\"https://www.kqed.org/arts/13974737/bay-area-arts-trump-cuts-national-endowment-of-the-humanities\">millions of dollars in previously awarded grants were canceled\u003c/a> on April 3. \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a>, one of those recipients, is now scrambling to get that money into the hands of \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">its grantees\u003c/a>.\u003c/p>\n\u003cp>“We don’t know why,” said Rick Noguchi, president and CEO of California Humanities, of the notice he received on June 25 that some funding had been restored. “There was no explanation. It just said the termination has been rescinded.”\u003c/p>\n\u003cp>California Humanities previously received over 90% of its funding from the NEH; Noguchi estimated about half of their funding is now available to them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The good news for us is that we are able to access some funds,” Noguchi said. The organization’s number-one priority is now to get those funds to their grantees, including documentary filmmakers, theaters, museums, storytelling projects and public events across the state.\u003c/p>\n\u003cp>California Humanities has over 110 open grants, all of which were suspended on April 4 after NEH funding was canceled. Now California Humanities staff are working to distribute that money to everyone who still needs it. Over the past three months, Noguchi said, “Some groups might have paused their project or canceled them outright without our funding.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Right now, California Humanities intends to fully disburse all outstanding grants. But Noguchi cautions that like this sudden “rescinded termination,” the situation at the federal level could change unexpectedly. “It’s been really challenging having to manage and navigate through a lot of this uncertainty,” he said. “In this environment, you can expect the unexpected.”\u003c/p>\n\u003cp>Some of the challenges come from the fact that the NEH is noticeably understaffed. Approximately \u003ca href=\"https://www.usatoday.com/story/news/politics/2025/06/10/employee-layoffs-national-endowment-humanities-grants/84124320007/\">two-thirds of NEH employees\u003c/a> were laid off on June 10.\u003c/p>\n\u003cp>At least one other NEH grantee (the agency also supplies grants directly to nonprofits, in addition to state councils) received notice that their funding had also been reinstated. The Chinese Historical Society of America and the WWII Chinese American GI Project will now be able to close out their series of \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=AV-286762-22\">discussions with Chinese American veterans\u003c/a>. “Unfortunately,” project director Montgomery Hom wrote to KQED in an email, “all the NEH program team members that I was working with previously are gone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For nearly 50 years, the partnership between the NEH and state humanities councils have provided funding to cultural and community organizations in all states and jurisdictions. Now, Noguchi said, California Humanities is reimagining what it is as an organization, facing a potential future without any NEH funding — or an NEH at all.\u003c/p>\n\u003cp>While California Humanities is seeking new funding from philanthropic partners, Noguchi stressed that private money will never be able to match federal funding, especially on an ongoing basis. California Humanities is urging Congress to restore the NEH’s budget in FY26.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Culture is so important to who we are as Californians,” Noguchi said. “And it really requires everyone’s input and participation in democracy to maintain our identity.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/category/theater\">Bay Area theater\u003c/a> is in dire circumstances.\u003c/p>\n\u003cp>The venerable \u003ca href=\"https://www.kqed.org/arts/tag/aurora-theatre\">Aurora Theatre Company\u003c/a> in Berkeley, facing a budget shortfall of $500,000 and dwindling audiences who never fully returned from the pandemic, has suspended its production calendar after this summer’s show, \u003ci>The Search for Signs of Intelligent Life in the Universe\u003c/i>.\u003c/p>\n\u003cp>Aurora isn’t alone. Since the 2020 pandemic, spaces that make up the heart of the Bay Area’s theater community have wrestled not only with patrons choosing to spend their time and money elsewhere, but a president who has \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">canceled millions in federal grants for the arts\u003c/a>. And while fundraising campaigns and crowdfunding have become commonplace, there’s only so many times a company can dip into the well of its most loyal patrons.\u003c/p>\n\u003cp>Names once synonymous with cutting-edge Bay Area theater, like Cutting Ball, Theater First, PianoFight and Exit Theatre, have \u003ca href=\"https://www.kqed.org/news/12046149/why-local-theater-is-in-free-fall\">shut down\u003c/a>. Cal Shakes in Orinda, which had been a member of the League of Resident Theatres with one of the most idyllic venues in the region, \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">ceased operations\u003c/a> in November after 50 years. The curtain even \u003ca href=\"https://www.kqed.org/arts/13929386/bay-area-childrens-theatre-to-close-citing-financial-challenges\">came down\u003c/a> on Bay Area Children’s Theatre.\u003c/p>\n\u003cp>[aside postID='news_12046149']What is the path forward for those companies still remaining, and wrestling with their own dips into the red? Against the dual headwinds of funding cuts and a presidential administration outwardly aggressive to any art that fails to honor the United States and her perceived exceptionalism, Bay Area theater is facing its greatest modern challenge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One thing theater makers have in abundance is creativity. But in order for Bay Area theater to have a future, it needs to consider new initiatives that meet the moment.\u003c/p>\n\u003cp>On the precipice of the fall season, we approached 11 prominent Bay Area directors, actors and administrators who mostly work in small- to mid-sized companies, and asked them all the same simple question:\u003c/p>\n\u003cp>\u003cb>“What must be done to ensure the survival of Bay Area theater?”\u003c/b>\u003c/p>\n\u003cp>\u003ci>Answers have been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Rinabeth Apostol, actor\u003c/h2>\n\u003cp>The word “diversify” bears repeating. I have been lucky to work in the Bay Area and beyond professionally for over 20 years, and while the theater landscape ebbs and flows, my peers and I ultimately find ourselves asking the same questions: Where are the audiences? Why is this theater at risk for closure? Why are we doing [insert name of “classic” play or musical with almost exclusively white cast here] again?\u003c/p>\n\u003cp>While there has been an uptick in more diverse plays, some theatres are still afraid to include more than one “Asian” or “Black” play in their seasons. Latinx and Indigenous stories and shows featuring actors with disabilities are sorely lacking… and not because they don’t exist! There is a staggering amount of new work and playwrights with distinct voices that are available to produce – it’s just a question of whether or not companies are willing to.\u003c/p>\n\u003cp>If theater companies diversify their programming, audiences will usually follow, which is essential in keeping theater doors open. Theater producers need to make an intentional effort to create work that will also enrich and hopefully grow their audience base – not just because the stages should reflect the world we live in, but because embracing a diverse audience will help create a more inclusive community… one that will hopefully reap tangible rewards. Producers need to look beyond their usual subscriber base, which isn’t usually very diverse. There needs to be a cultural and generational shift in what theaters perceive their “ideal audience” to be and they need to actively educate their subscriber base/typical audience members to also embrace that change. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Josh Costello, Artistic Director, Aurora Theatre Company, Berkeley\u003c/h2>\n\u003cp>The survival of Bay Area theater is not in question — there will always be theater in the Bay Area. Will there be a multitude of theater companies with different missions and visions, paying living wages to local professional artists, while providing the resources these artists need to do their best work? \u003c/p>\n\u003cp>To ensure a thriving Bay Area theater, we need to constantly advocate for theater’s intrinsic value as an art form, as well as its many positive impacts on our community. We need local and state governments to greatly increase funding for the arts. We need foundations to provide general operating support to organizations that employ local artists. We need to create a culture of philanthropy for the arts in the Bay Area tech community. And we need to inspire people from all walks of life across the Bay Area to put down their phones and attend live theater. \u003c/p>\n\u003cp>It starts with you. Write to your local government. Subscribe and donate if you can. Bring a friend to see a play. Make something beautiful.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Susi Damilano, co-founder and Producing Director, San Francisco Playhouse\u003c/h2>\n\u003cp>This question has as many answers as there are people in our community, but when I consider all the possibilities, it comes down to two essential elements: guts and grit.\u003c/p>\n\u003cp>Theater is a business built on humanity’s unlimited capacity to create. So many art forms converge to create a theatrical experience—writers, actors, painters, sculptors, dancers, musicians. These creations aren’t products that can be bottled and sold. Each production is unique. The same script can be interpreted in countless ways, and once a production is set, no two performances are exactly alike. Even the audience changes nightly. Theater is a living thing, which is precisely why it takes guts to invest in it and grit to sustain it. It’s inherently risky.\u003c/p>\n\u003cp>Yet nothing is more fulfilling than pouring your soul into a piece, wondering if it resonates, and then watching an entire audience respond—erupting in laughter, sitting in stunned silence, or moved to tears. We change lives. We create connections. We are essential as storytellers and mirrors of the human condition.\u003c/p>\n\u003cp>For theater to survive, we need people, governments, and foundations to have the guts to invest their time and money in this vital art form. We need artists and theater-makers to have the grit to persevere through difficult times, to keep collaborating with one another, and to keep creating. Failure is not an option.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Paul Flores, playwright, poet, professor\u003c/h2>\n\u003cp>Maybe there is the idea that bigger isn’t always better — let’s start with that, right? Maybe it’s about meeting people where they are in their wallets and in their comfort levels, because the money for theater just isn’t there. How many of those NEA grants were stripped from theater companies? The San Francisco Arts Commission gave away $5 million less this year than they did in 2024, which was $15 million. So money is going away from us.\u003c/p>\n\u003cp>I think we have to start thinking, how do we make pieces that are more accessible? Theater producers also have to start thinking about where they’re investing their resources. Do we need to be buying buildings? What does that do for the sustainability of the art, especially in San Francisco? \u003c/p>\n\u003cp>So many artists have left the Bay Area because they can’t afford rent. What are we doing to help with that? How are we helping the theater companies that currently exist to maintain their seasons? The issue is money right now, which is probably always the problem, right? Maybe it’s smaller productions, maybe it’s less stuff indoors, or less reliance on tech that will produce theater. It would ask for us to reimagine theater as a more open space. What could that look like? \u003c/p>\n\u003cp>I’m not trying to look for four walls, but looking for bigger spaces, places that are different, accessible and expansive, maybe a former used car lot or downtown office spaces. That’s what I’m looking at, cultural revitalization. Theater needs to think that way. If it is about neighborhoods, how can we get more democratic participation? We need to ask, hey neighborhoods, what do you want to see for theater? \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Reed Flores, playwright and director\u003c/h2>\n\u003cp>Bay Area theater is only going to survive if we start to be more intentional about sharing resources, and what we decide to produce. What I have learned this past season is, despite how volatile our industry is and how fickle external funding can be, we are absolutely capable of abundance. \u003c/p>\n\u003cp>Mutually beneficial partnerships, shared rehearsal spaces, co-productions, skill sharing, sharing materials and more. I worked with multiple “small” theaters this season, and each felt so expansive because they opened their doors to their sister theaters and hired beyond their usual network. We must keep filling our neighbor’s cup, in good faith that our neighbor will return the gesture. We are more imaginative and expansive and magical when we share.\u003c/p>\n\u003cp>On a less romantic note, we need to focus our energy on uplifting the new. We have to invest in the generative, brave, the unapologetic reflections of our Bay Area landscape. In the past two years I’ve seen more world premieres by local BIPOC artists, and it is some of the most exciting theater I’ve seen. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Margo Hall, actor, director, Artistic Director of Lorraine Hansberry Theatre\u003c/h2>\n\u003cp>To ensure the survival of Bay Area theater, we must invest in sustainable funding models, radical inclusion and community-rooted programming. We need bold investment in the artists and institutions that make this region vibrant, especially those led by people of color, who have long been under-resourced but have had a deep impact. Sustainable, multi-year funding must be the norm, not the exception.\u003c/p>\n\u003cp>We also need to nurture the next generation of theater-makers through mentorship, access and genuine opportunities to grow—not just on stage, but behind the scenes, in leadership, and among our audiences.\u003c/p>\n\u003cp>Bay Area theater will survive if we stay rooted in community. That means telling stories that reflect the people who live here, building trust with those who’ve felt excluded and using theater as a space for truth-telling, healing, and joy.\u003c/p>\n\u003cp>This isn’t about returning to what was. It’s about building something more just, more inclusive, and more connected. The work is urgent — and it’s absolutely possible.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Melissa Hillman, Programs Officer, Theatre Bay Area\u003c/h2>\n\u003cp>For companies trying to survive now, I think the way forward is cooperation — shared services, shared resources, shared space, even shared audiences; package ticket deals for several companies in the same area, for example. \u003c/p>\n\u003cp>We need to be reinvesting in theatre education for young people. There’s a mountain of evidence that shows K-12 theatre education benefits student achievement overall. Importantly for the survival of Bay Area theatre, it also creates theatre-goers, and due to the relentless gutting of theatre education in K-12 schools over the past 40 years, there are fewer adults today that consider theatre one of their entertainment options. A reinvestment in theatre education will also create more theatre jobs, making it easier for theatre makers to live and make theatre here. \u003c/p>\n\u003cp>Accessibility is key. This is both accessibility for disabled people, and financial accessibility. A $60 ticket is just not affordable for many people, and that’s going to get worse over the next few years. Access for disabled people is improving, but there are still issues with ADA compliance in a lot of venues. \u003c/p>\n\u003cp>And with the NEA off the table for most companies, state and local governments need to step up to increase funding. A financial stimulus in local theatre will increase local spending power overall, enabling more people to see theatre, creating a virtuous cycle. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Lisa Mallette, Artistic Director, City Lights Theatre Company, San José\u003c/h2>\n\u003cp>To ensure the survival of Bay Area theater, we need more than passion. We need a systemic shift in how we fund and sustain live performance. Foundations, both local and national, must rediscover their belief in theater’s power to create healthy, vibrant communities. They must recommit to supporting the arts.\u003c/p>\n\u003cp>Moreover, the area’s leading businesses have a stake in our cultural ecosystem. When tech giants, biotech firms and local enterprises invest in the arts — through sponsorships, matching gifts or employee programs — they help strengthen creativity, attract talent and build community.\u003c/p>\n\u003cp>Theater companies must also innovate rather than repeat pre-pandemic practices and hope for different results. At City Lights Theater Company, we’ve discovered that authentic relationships with patrons and donors create a necessary culture of care. Individuals sharing their time, talent and treasure have fueled our turnaround this year. Ticket sales are rebounding slowly, while rising expenses make individual giving essential to our balance.\u003c/p>\n\u003cp>By uniting foundations, businesses, artists and audiences, we can write a brighter future for Bay Area theater: one where every stakeholder feels a sense of belonging and shared purpose.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Lisa Ramirez, Associate Artistic Director, Oakland Theater Project\u003c/h2>\n\u003cp>I think the survival of the Bay Area theater is requiring us all to get more and more creative during this tenuous political period, especially with the smaller houses. This means building stronger local individual and private support systems and funding. This means collaborating and partnering with other theatres, schools and community organizations. It means hiring locally across the board, instead of “outsourcing” talent from other places. That means directors, actors, playwrights. \u003c/p>\n\u003cp>There is so much talent and heart here. We must hire locally to sustain our beautiful ecosystem. The audience members and subscribers appreciate this as well. Being a company member at Oakland Theater Project and writing, acting or working backstage and seeing familiar faces after different shows is not only inspiring but creates repeated shared experiences over time and fosters strong community ties.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Leigh Rondon-Davis, Leader of Artistic Curation and Marketing, Crowded Fire Theater\u003c/h2>\n\u003cp>I think real, intentional interdependence and interconnectedness is essential. I do not think we are going to survive in the siloed ways that we are, given the dwindling resources and the way it’s been impacting our artist community. We are going to have to really depend on and support one another in deeply intentional ways in order to survive — and that, to me, is going to look like partnerships and really robust collaborations between companies and organizations. That’s going to look like multidisciplinary collaborations where there’s also art and music.\u003c/p>\n\u003cp>We also need to look at new models for compensating artists so they can live in the Bay Area and still make work. It’s going to look like collaboration and some like real visioning with our local funders and our local governments on universal artist income or grants that support artists in residencies or fellowship, right? We’re going to really need to tap in to talk and work with one another and to help ensure that arts can stay in the Bay.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Jon Tracy, Artistic Director, Marin Shakespeare Company\u003c/h2>\n\u003cp>There’s a myth that somewhere out there is a perfect audience — either huge and universal, or niche and ready-made. Some hope that if the work is broad enough, everyone will show up. Others believe if it’s bold and specific enough, the right people will just find it. But neither really plays out.\u003c/p>\n\u003cp>I think we’ve lost faith in the art of the invitation — how we build bridges to those who don’t yet know we’re here, or who’ve never been given a reason to believe theatre is for them. That’s where trust begins.\u003c/p>\n\u003cp>I’m for transparency of intentions, never compromise of the work. Theatre doesn’t have to soften itself to reach people. Pop theatre, trying to please everyone, usually earns the trust of no one. We owe it to everyone to say who we are, what we care about, and be steady about it. Trust doesn’t come from having a universal message. It comes from consistent clarity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Theatre isn’t dead. And when the wave of a world rushing narrowly toward the virtual finally breaks, people will come looking for each other, for connection, for the tangible church of humans creating something real, together.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/category/theater\">Bay Area theater\u003c/a> is in dire circumstances.\u003c/p>\n\u003cp>The venerable \u003ca href=\"https://www.kqed.org/arts/tag/aurora-theatre\">Aurora Theatre Company\u003c/a> in Berkeley, facing a budget shortfall of $500,000 and dwindling audiences who never fully returned from the pandemic, has suspended its production calendar after this summer’s show, \u003ci>The Search for Signs of Intelligent Life in the Universe\u003c/i>.\u003c/p>\n\u003cp>Aurora isn’t alone. Since the 2020 pandemic, spaces that make up the heart of the Bay Area’s theater community have wrestled not only with patrons choosing to spend their time and money elsewhere, but a president who has \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">canceled millions in federal grants for the arts\u003c/a>. And while fundraising campaigns and crowdfunding have become commonplace, there’s only so many times a company can dip into the well of its most loyal patrons.\u003c/p>\n\u003cp>Names once synonymous with cutting-edge Bay Area theater, like Cutting Ball, Theater First, PianoFight and Exit Theatre, have \u003ca href=\"https://www.kqed.org/news/12046149/why-local-theater-is-in-free-fall\">shut down\u003c/a>. Cal Shakes in Orinda, which had been a member of the League of Resident Theatres with one of the most idyllic venues in the region, \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">ceased operations\u003c/a> in November after 50 years. The curtain even \u003ca href=\"https://www.kqed.org/arts/13929386/bay-area-childrens-theatre-to-close-citing-financial-challenges\">came down\u003c/a> on Bay Area Children’s Theatre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What is the path forward for those companies still remaining, and wrestling with their own dips into the red? Against the dual headwinds of funding cuts and a presidential administration outwardly aggressive to any art that fails to honor the United States and her perceived exceptionalism, Bay Area theater is facing its greatest modern challenge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One thing theater makers have in abundance is creativity. But in order for Bay Area theater to have a future, it needs to consider new initiatives that meet the moment.\u003c/p>\n\u003cp>On the precipice of the fall season, we approached 11 prominent Bay Area directors, actors and administrators who mostly work in small- to mid-sized companies, and asked them all the same simple question:\u003c/p>\n\u003cp>\u003cb>“What must be done to ensure the survival of Bay Area theater?”\u003c/b>\u003c/p>\n\u003cp>\u003ci>Answers have been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Rinabeth Apostol, actor\u003c/h2>\n\u003cp>The word “diversify” bears repeating. I have been lucky to work in the Bay Area and beyond professionally for over 20 years, and while the theater landscape ebbs and flows, my peers and I ultimately find ourselves asking the same questions: Where are the audiences? Why is this theater at risk for closure? Why are we doing [insert name of “classic” play or musical with almost exclusively white cast here] again?\u003c/p>\n\u003cp>While there has been an uptick in more diverse plays, some theatres are still afraid to include more than one “Asian” or “Black” play in their seasons. Latinx and Indigenous stories and shows featuring actors with disabilities are sorely lacking… and not because they don’t exist! There is a staggering amount of new work and playwrights with distinct voices that are available to produce – it’s just a question of whether or not companies are willing to.\u003c/p>\n\u003cp>If theater companies diversify their programming, audiences will usually follow, which is essential in keeping theater doors open. Theater producers need to make an intentional effort to create work that will also enrich and hopefully grow their audience base – not just because the stages should reflect the world we live in, but because embracing a diverse audience will help create a more inclusive community… one that will hopefully reap tangible rewards. Producers need to look beyond their usual subscriber base, which isn’t usually very diverse. There needs to be a cultural and generational shift in what theaters perceive their “ideal audience” to be and they need to actively educate their subscriber base/typical audience members to also embrace that change. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-1-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Josh Costello, Artistic Director, Aurora Theatre Company, Berkeley\u003c/h2>\n\u003cp>The survival of Bay Area theater is not in question — there will always be theater in the Bay Area. Will there be a multitude of theater companies with different missions and visions, paying living wages to local professional artists, while providing the resources these artists need to do their best work? \u003c/p>\n\u003cp>To ensure a thriving Bay Area theater, we need to constantly advocate for theater’s intrinsic value as an art form, as well as its many positive impacts on our community. We need local and state governments to greatly increase funding for the arts. We need foundations to provide general operating support to organizations that employ local artists. We need to create a culture of philanthropy for the arts in the Bay Area tech community. And we need to inspire people from all walks of life across the Bay Area to put down their phones and attend live theater. \u003c/p>\n\u003cp>It starts with you. Write to your local government. Subscribe and donate if you can. Bring a friend to see a play. Make something beautiful.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-2-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Susi Damilano, co-founder and Producing Director, San Francisco Playhouse\u003c/h2>\n\u003cp>This question has as many answers as there are people in our community, but when I consider all the possibilities, it comes down to two essential elements: guts and grit.\u003c/p>\n\u003cp>Theater is a business built on humanity’s unlimited capacity to create. So many art forms converge to create a theatrical experience—writers, actors, painters, sculptors, dancers, musicians. These creations aren’t products that can be bottled and sold. Each production is unique. The same script can be interpreted in countless ways, and once a production is set, no two performances are exactly alike. Even the audience changes nightly. Theater is a living thing, which is precisely why it takes guts to invest in it and grit to sustain it. It’s inherently risky.\u003c/p>\n\u003cp>Yet nothing is more fulfilling than pouring your soul into a piece, wondering if it resonates, and then watching an entire audience respond—erupting in laughter, sitting in stunned silence, or moved to tears. We change lives. We create connections. We are essential as storytellers and mirrors of the human condition.\u003c/p>\n\u003cp>For theater to survive, we need people, governments, and foundations to have the guts to invest their time and money in this vital art form. We need artists and theater-makers to have the grit to persevere through difficult times, to keep collaborating with one another, and to keep creating. Failure is not an option.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-3-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Paul Flores, playwright, poet, professor\u003c/h2>\n\u003cp>Maybe there is the idea that bigger isn’t always better — let’s start with that, right? Maybe it’s about meeting people where they are in their wallets and in their comfort levels, because the money for theater just isn’t there. How many of those NEA grants were stripped from theater companies? The San Francisco Arts Commission gave away $5 million less this year than they did in 2024, which was $15 million. So money is going away from us.\u003c/p>\n\u003cp>I think we have to start thinking, how do we make pieces that are more accessible? Theater producers also have to start thinking about where they’re investing their resources. Do we need to be buying buildings? What does that do for the sustainability of the art, especially in San Francisco? \u003c/p>\n\u003cp>So many artists have left the Bay Area because they can’t afford rent. What are we doing to help with that? How are we helping the theater companies that currently exist to maintain their seasons? The issue is money right now, which is probably always the problem, right? Maybe it’s smaller productions, maybe it’s less stuff indoors, or less reliance on tech that will produce theater. It would ask for us to reimagine theater as a more open space. What could that look like? \u003c/p>\n\u003cp>I’m not trying to look for four walls, but looking for bigger spaces, places that are different, accessible and expansive, maybe a former used car lot or downtown office spaces. That’s what I’m looking at, cultural revitalization. Theater needs to think that way. If it is about neighborhoods, how can we get more democratic participation? We need to ask, hey neighborhoods, what do you want to see for theater? \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-4-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Reed Flores, playwright and director\u003c/h2>\n\u003cp>Bay Area theater is only going to survive if we start to be more intentional about sharing resources, and what we decide to produce. What I have learned this past season is, despite how volatile our industry is and how fickle external funding can be, we are absolutely capable of abundance. \u003c/p>\n\u003cp>Mutually beneficial partnerships, shared rehearsal spaces, co-productions, skill sharing, sharing materials and more. I worked with multiple “small” theaters this season, and each felt so expansive because they opened their doors to their sister theaters and hired beyond their usual network. We must keep filling our neighbor’s cup, in good faith that our neighbor will return the gesture. We are more imaginative and expansive and magical when we share.\u003c/p>\n\u003cp>On a less romantic note, we need to focus our energy on uplifting the new. We have to invest in the generative, brave, the unapologetic reflections of our Bay Area landscape. In the past two years I’ve seen more world premieres by local BIPOC artists, and it is some of the most exciting theater I’ve seen. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-5-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Margo Hall, actor, director, Artistic Director of Lorraine Hansberry Theatre\u003c/h2>\n\u003cp>To ensure the survival of Bay Area theater, we must invest in sustainable funding models, radical inclusion and community-rooted programming. We need bold investment in the artists and institutions that make this region vibrant, especially those led by people of color, who have long been under-resourced but have had a deep impact. Sustainable, multi-year funding must be the norm, not the exception.\u003c/p>\n\u003cp>We also need to nurture the next generation of theater-makers through mentorship, access and genuine opportunities to grow—not just on stage, but behind the scenes, in leadership, and among our audiences.\u003c/p>\n\u003cp>Bay Area theater will survive if we stay rooted in community. That means telling stories that reflect the people who live here, building trust with those who’ve felt excluded and using theater as a space for truth-telling, healing, and joy.\u003c/p>\n\u003cp>This isn’t about returning to what was. It’s about building something more just, more inclusive, and more connected. The work is urgent — and it’s absolutely possible.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-6-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Melissa Hillman, Programs Officer, Theatre Bay Area\u003c/h2>\n\u003cp>For companies trying to survive now, I think the way forward is cooperation — shared services, shared resources, shared space, even shared audiences; package ticket deals for several companies in the same area, for example. \u003c/p>\n\u003cp>We need to be reinvesting in theatre education for young people. There’s a mountain of evidence that shows K-12 theatre education benefits student achievement overall. Importantly for the survival of Bay Area theatre, it also creates theatre-goers, and due to the relentless gutting of theatre education in K-12 schools over the past 40 years, there are fewer adults today that consider theatre one of their entertainment options. A reinvestment in theatre education will also create more theatre jobs, making it easier for theatre makers to live and make theatre here. \u003c/p>\n\u003cp>Accessibility is key. This is both accessibility for disabled people, and financial accessibility. A $60 ticket is just not affordable for many people, and that’s going to get worse over the next few years. Access for disabled people is improving, but there are still issues with ADA compliance in a lot of venues. \u003c/p>\n\u003cp>And with the NEA off the table for most companies, state and local governments need to step up to increase funding. A financial stimulus in local theatre will increase local spending power overall, enabling more people to see theatre, creating a virtuous cycle. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-7-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Lisa Mallette, Artistic Director, City Lights Theatre Company, San José\u003c/h2>\n\u003cp>To ensure the survival of Bay Area theater, we need more than passion. We need a systemic shift in how we fund and sustain live performance. Foundations, both local and national, must rediscover their belief in theater’s power to create healthy, vibrant communities. They must recommit to supporting the arts.\u003c/p>\n\u003cp>Moreover, the area’s leading businesses have a stake in our cultural ecosystem. When tech giants, biotech firms and local enterprises invest in the arts — through sponsorships, matching gifts or employee programs — they help strengthen creativity, attract talent and build community.\u003c/p>\n\u003cp>Theater companies must also innovate rather than repeat pre-pandemic practices and hope for different results. At City Lights Theater Company, we’ve discovered that authentic relationships with patrons and donors create a necessary culture of care. Individuals sharing their time, talent and treasure have fueled our turnaround this year. Ticket sales are rebounding slowly, while rising expenses make individual giving essential to our balance.\u003c/p>\n\u003cp>By uniting foundations, businesses, artists and audiences, we can write a brighter future for Bay Area theater: one where every stakeholder feels a sense of belonging and shared purpose.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-8-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Lisa Ramirez, Associate Artistic Director, Oakland Theater Project\u003c/h2>\n\u003cp>I think the survival of the Bay Area theater is requiring us all to get more and more creative during this tenuous political period, especially with the smaller houses. This means building stronger local individual and private support systems and funding. This means collaborating and partnering with other theatres, schools and community organizations. It means hiring locally across the board, instead of “outsourcing” talent from other places. That means directors, actors, playwrights. \u003c/p>\n\u003cp>There is so much talent and heart here. We must hire locally to sustain our beautiful ecosystem. The audience members and subscribers appreciate this as well. Being a company member at Oakland Theater Project and writing, acting or working backstage and seeing familiar faces after different shows is not only inspiring but creates repeated shared experiences over time and fosters strong community ties.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-9-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Leigh Rondon-Davis, Leader of Artistic Curation and Marketing, Crowded Fire Theater\u003c/h2>\n\u003cp>I think real, intentional interdependence and interconnectedness is essential. I do not think we are going to survive in the siloed ways that we are, given the dwindling resources and the way it’s been impacting our artist community. We are going to have to really depend on and support one another in deeply intentional ways in order to survive — and that, to me, is going to look like partnerships and really robust collaborations between companies and organizations. That’s going to look like multidisciplinary collaborations where there’s also art and music.\u003c/p>\n\u003cp>We also need to look at new models for compensating artists so they can live in the Bay Area and still make work. It’s going to look like collaboration and some like real visioning with our local funders and our local governments on universal artist income or grants that support artists in residencies or fellowship, right? We’re going to really need to tap in to talk and work with one another and to help ensure that arts can stay in the Bay.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-13978747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/unnamed-10-160x160.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003ch2>Jon Tracy, Artistic Director, Marin Shakespeare Company\u003c/h2>\n\u003cp>There’s a myth that somewhere out there is a perfect audience — either huge and universal, or niche and ready-made. Some hope that if the work is broad enough, everyone will show up. Others believe if it’s bold and specific enough, the right people will just find it. But neither really plays out.\u003c/p>\n\u003cp>I think we’ve lost faith in the art of the invitation — how we build bridges to those who don’t yet know we’re here, or who’ve never been given a reason to believe theatre is for them. That’s where trust begins.\u003c/p>\n\u003cp>I’m for transparency of intentions, never compromise of the work. Theatre doesn’t have to soften itself to reach people. Pop theatre, trying to please everyone, usually earns the trust of no one. We owe it to everyone to say who we are, what we care about, and be steady about it. Trust doesn’t come from having a universal message. It comes from consistent clarity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Theatre isn’t dead. And when the wave of a world rushing narrowly toward the virtual finally breaks, people will come looking for each other, for connection, for the tangible church of humans creating something real, together.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ca-newsom-state-budget-cuts-performing-arts-equitable-payroll-fund",
"title": "Newsom’s Proposed Budget Ends Vital Funding to Small Performing Arts Groups",
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"content": "\u003cp>California arts leaders are \u003ca href=\"https://www.caartsadvocates.org/news/press-release-reverse-arts-funding-cuts-proposed-in-may-revise\">sounding alarms\u003c/a> over proposed cuts in Governor Gavin Newsom’s \u003ca href=\"https://www.kqed.org/news/tag/california-state-budget\">latest revised budget\u003c/a>. On the chopping block is $11.5 million meant for the \u003ca href=\"https://calosba.ca.gov/calosba-initiatives/performing-arts-equitable-payroll-fund-program/\">Performing Arts Equitable Payroll Fund\u003c/a>, a pool of money established to help small performing arts groups stay afloat.\u003c/p>\n\u003cp>[aside postID='arts_13975921']The fund, which only launched this year, was meant to offset the cost of complying with laws that require theaters to treat performing artists as employees rather than independent contractors.\u003c/p>\n\u003cp>“This is not for big galas or events or executives,” said San Francisco State Assemblymember Matt Haney, who supports keeping the fund in the budget. “This is money that goes directly to employ artists. And we know that we need artists in the world. We certainly need artists in California right now.”\u003c/p>\n\u003cp>Newsom’s proposed budget comes on the heels of major federal funding cuts to the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">arts\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13974737/bay-area-arts-trump-cuts-national-endowment-of-the-humanities\">humanities\u003c/a>, and the Trump administration’s announced desire to eliminate the National Endowment for the Arts, the National Endowment for the Humanities, and the Institute of Museum and Library Services.\u003c/p>\n\u003cp>Opponents say cutting the state fund could have major repercussions for the arts, without significantly affecting the bottom line. “This is not going to ultimately fill out a $12 billion deficit for the state of California,” said Julie Baker, CEO of California Arts Advocates and California for the Arts, “but it is going to potentially decimate small nonprofit performing arts organizations in the state.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_12033648']AB5, the 2019 law that requires performers be treated as employees, was originally meant to protect workers in the gig economy, like Lyft and Uber drivers. Those big companies \u003ca href=\"https://www.kqed.org/news/12033648/uber-lyft-withheld-billions-in-pay-california-alleges-settlement-talks-are-underway\">carved out exemptions\u003c/a> while small performing arts groups \u003ca href=\"https://www.kqed.org/arts/13892179/for-some-small-arts-groups-in-ca-adhering-to-labor-law-means-not-paying-artists\">saw their payroll expenses balloon\u003c/a>.\u003c/p>\n\u003cp>The Equitable Payroll Fund is only available to nonprofits with an adjusted gross revenue under $2 million; organizations submit for reimbursements on their payroll expenses.\u003c/p>\n\u003cp>Among the groups affected by the proposed state cut is the San Francisco Bay Area Theater Company. The group applied for and projected it could receive $200,000 to help pay artists, says Laura Domingo, director of development and marketing.\u003c/p>\n\u003cp>“It’s really lessening our ability to tell these important local stories … that wouldn’t really necessarily find a home anywhere else,” she said. On their upcoming schedule are shows like \u003ci>The Day the Sky Turned Orange\u003c/i>, a musical set during that surreal convergence of pandemic and smoky skies. In development is a musical set in the 1950s Fillmore District, when the neighborhood was known as the “Harlem of the West.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Arts advocates hope the funding can get reinstated by June 15, when the California Legislature must pass the state budget for the upcoming fiscal year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California arts leaders are \u003ca href=\"https://www.caartsadvocates.org/news/press-release-reverse-arts-funding-cuts-proposed-in-may-revise\">sounding alarms\u003c/a> over proposed cuts in Governor Gavin Newsom’s \u003ca href=\"https://www.kqed.org/news/tag/california-state-budget\">latest revised budget\u003c/a>. On the chopping block is $11.5 million meant for the \u003ca href=\"https://calosba.ca.gov/calosba-initiatives/performing-arts-equitable-payroll-fund-program/\">Performing Arts Equitable Payroll Fund\u003c/a>, a pool of money established to help small performing arts groups stay afloat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The fund, which only launched this year, was meant to offset the cost of complying with laws that require theaters to treat performing artists as employees rather than independent contractors.\u003c/p>\n\u003cp>“This is not for big galas or events or executives,” said San Francisco State Assemblymember Matt Haney, who supports keeping the fund in the budget. “This is money that goes directly to employ artists. And we know that we need artists in the world. We certainly need artists in California right now.”\u003c/p>\n\u003cp>Newsom’s proposed budget comes on the heels of major federal funding cuts to the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">arts\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13974737/bay-area-arts-trump-cuts-national-endowment-of-the-humanities\">humanities\u003c/a>, and the Trump administration’s announced desire to eliminate the National Endowment for the Arts, the National Endowment for the Humanities, and the Institute of Museum and Library Services.\u003c/p>\n\u003cp>Opponents say cutting the state fund could have major repercussions for the arts, without significantly affecting the bottom line. “This is not going to ultimately fill out a $12 billion deficit for the state of California,” said Julie Baker, CEO of California Arts Advocates and California for the Arts, “but it is going to potentially decimate small nonprofit performing arts organizations in the state.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>AB5, the 2019 law that requires performers be treated as employees, was originally meant to protect workers in the gig economy, like Lyft and Uber drivers. Those big companies \u003ca href=\"https://www.kqed.org/news/12033648/uber-lyft-withheld-billions-in-pay-california-alleges-settlement-talks-are-underway\">carved out exemptions\u003c/a> while small performing arts groups \u003ca href=\"https://www.kqed.org/arts/13892179/for-some-small-arts-groups-in-ca-adhering-to-labor-law-means-not-paying-artists\">saw their payroll expenses balloon\u003c/a>.\u003c/p>\n\u003cp>The Equitable Payroll Fund is only available to nonprofits with an adjusted gross revenue under $2 million; organizations submit for reimbursements on their payroll expenses.\u003c/p>\n\u003cp>Among the groups affected by the proposed state cut is the San Francisco Bay Area Theater Company. The group applied for and projected it could receive $200,000 to help pay artists, says Laura Domingo, director of development and marketing.\u003c/p>\n\u003cp>“It’s really lessening our ability to tell these important local stories … that wouldn’t really necessarily find a home anywhere else,” she said. On their upcoming schedule are shows like \u003ci>The Day the Sky Turned Orange\u003c/i>, a musical set during that surreal convergence of pandemic and smoky skies. In development is a musical set in the 1950s Fillmore District, when the neighborhood was known as the “Harlem of the West.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Arts advocates hope the funding can get reinstated by June 15, when the California Legislature must pass the state budget for the upcoming fiscal year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Updated 10:05 p.m. Monday.\u003c/i>\u003c/p>\n\u003cp>More than a dozen Bay Area arts nonprofits received emails the afternoon of May 2 that their grants from the \u003ca href=\"https://www.kqed.org/arts/tag/nea\">National Endowment for the Arts\u003c/a> have been canceled.\u003c/p>\n\u003cp>The cancellations affect a wide range of Bay Area arts organizations, including \u003ca href=\"https://www.kqed.org/arts/tag/berkeley-rep\">Berkeley Repertory Theatre\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/tag/frameline\">Frameline\u003c/a> film festival, \u003ca href=\"https://www.kqed.org/arts/tag/sfjazz\">SFJAZZ\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/the-lab\">The Lab\u003c/a>. The emails stated that “the NEA is updating its grantmaking policy priorities to focus funding on projects that reflect the nation’s rich artistic heritage and creativity as prioritized by the President.”\u003c/p>\n\u003cp>[aside postID='arts_13975921']In a budget proposal released on May 2, \u003ca href=\"https://www.americantheatre.org/2025/05/02/trump-proposes-elimination-of-nea-and-neh/\">President Trump called for eliminating the NEA entirely\u003c/a>, along with the National Endowment for the Humanities and the Institute of Museum and Library Sciences.\u003c/p>\n\u003cp>The grant terminations are effective as of May 31, 2025. Affected grantees now have until June 30, 2025 to make a final payment request — if they are able to complete their awarded projects by the end of May.\u003c/p>\n\u003ch2>Trump’s new priorities\u003c/h2>\n\u003cp>The NEA’s Grants for the Arts, issued twice a year, historically range in value from $10,000 to $100,000 and support arts nonprofits in all 50 states, Puerto Rico, and Washington, D.C. The most recent \u003ca href=\"https://www.kqed.org/arts/13970297/nea-grants-list-of-sf-bay-area-organizations-receiving-grants-in-2025\">grant announcement in January\u003c/a> totaled nearly $36.8 million, spread across 1,474 awards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" title=\"Bay Area National Endowment for the Arts Grantees\" aria-label=\"Table\" id=\"datawrapper-chart-RKmYG\" src=\"https://datawrapper.dwcdn.net/RKmYG/5/\" scrolling=\"no\" frameborder=\"0\" style=\"border: none;\" width=\"800\" height=\"650\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Previous NEA chair Maria Rosario Jackson, who had been appointed by former President Joe Biden, resigned on Jan. 20, the day of Trump’s inauguration. Mary Anne Carter, Trump’s NEA chair during his 2017-2020 administration, is currently overseeing the agency.\u003c/p>\n\u003cp>The termination emails received by grantees list the updated priorities of the NEA as “projects that elevate the Nation’s HBCUs and Hispanic Serving Institutions, celebrate the 250th anniversary of American independence, foster AI competency, empower houses of worship to serve communities, assist with disaster recovery, foster skilled trade jobs, make America healthy again, support the military and veterans, support Tribal communities, make the District of Columbia safe and beautiful, and support the economic development of Asian American communities.”\u003c/p>\n\u003cfigure id=\"attachment_13975664\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975664\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000.jpg\" alt=\"gallery space with tables and sculptures, lights on floor\" width=\"2000\" height=\"1036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-800x414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-1020x528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-768x398.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-1536x796.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-1920x995.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘arcane transmissions,’ presented by The Lab and cloaca projects, based on an original conception by Peter Simensky. The exhibition and performance series was funded by a National Endowment for the Humanities grant. \u003ccite>(Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of these are familiar to arts nonprofits who have previously applied for NEA grants, projects intended to “foster AI competency” and “make America healthy again” stood out as new additions.\u003c/p>\n\u003cp>[aside postID='arts_13971749']Confusingly, some organizations had funding rescinded for projects that, in fact, met the NEA’s new criteria. The \u003ca href=\"https://www.californiasymphony.org/\">California Symphony\u003c/a>, for instance, had $10,000 in grant funds terminated, resulting in the possible cancellation of a commission by its composer-in-residence, Saad Haddad.\u003c/p>\n\u003cp>“The unfortunate irony,” symphony director Donato Cabrara told KQED, “is that this final commission was to help celebrate the 250th anniversary of American independence, one of the new criteria listed by the NEA.”\u003c/p>\n\u003ch2>A ‘roller-coaster ride’\u003c/h2>\n\u003cp>\u003ca href=\"https://www.scrap-sf.org/\">SCRAP\u003c/a>, the San Francisco creative reuse center, was proud to announce its very first NEA grant in January. But since then, the $25,000 in funds have been effectively frozen. SCRAP received notice that their funding recommendation had been withdrawn on Friday. The grant was meant to support staff and teaching artists running a sustainable fashion design program for underserved youth.\u003c/p>\n\u003cp>The nonprofit now has seven calendar days to appeal the decision. SCRAP’s Director of Programs Danielle Grant says it’s unlikely they will appeal. “We don’t fit any of those ‘new priorities,’” she told KQED.\u003c/p>\n\u003cp>[aside postID='arts_13974246']\u003ca href=\"https://oaklandtheaterproject.org/\">Oakland Theater Project\u003c/a>, which received a $30,000 award in 2024 for the world premiere production of Erik Ehn’s \u003ci>Moby Dick\u003c/i>, was also among the affected nonprofits. Managing Director Colin Mandlin said they have received about half of the funds from the NEA, which were meant to cover a two-year granting period.\u003c/p>\n\u003cp>Just last month, Oakland Theater Project was hit by other federal funding cuts: Their $25,000 grant from California Humanities \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">was canceled\u003c/a> when the National Endowment for the Humanities \u003ca href=\"https://www.npr.org/2025/04/03/nx-s1-5350994/neh-grants-cut-humanities-doge-trump\">canceled millions of dollars\u003c/a> in previously awarded federal grants to arts and cultural groups across the country.\u003c/p>\n\u003cp>“The roller-coaster ride continues,” Mandlin wrote in an email to KQED.\u003c/p>\n\u003cp>\u003ci>Moby Dick\u003c/i> was scheduled to premiere in 2026; it’s unlikely Oakland Theater Project will be able to receive their full grant amount by the June deadline. Mandlin said they’ll have to revisit the extent of their plans for the production. “It’s more ambitious, world premieres, when we’re commissioning a piece from scratch,” Mandlin said. “Commissioning a play costs a substantial amount of funds.”\u003c/p>\n\u003cfigure id=\"attachment_13937813\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937813\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Smith at The Lab in November 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Uncertainty in all sizes\u003c/h2>\n\u003cp>The grant cancellations are particularly dire for smaller arts organizations with smaller operating budgets, for which an NEA grant can constitute substantial assistance.\u003c/p>\n\u003cp>Andrew Smith, executive director of the San Francisco experimental arts space \u003ca href=\"https://www.kqed.org/arts/13937804/the-lab-new-lease-redstone-building-sf-labor-temple\">The Lab\u003c/a>, also received the notice-of-termination email — twice. Both projects, Smith said, have thankfully been completed and fully reimbursed.\u003c/p>\n\u003cp>Expecting something like this grant termination to happen, Smith pushed NEA-funded programming from the fall to the spring in order to submit for reimbursement as quickly as possible.\u003c/p>\n\u003cp>Additionally, the literary magazine \u003ci>ZYZZYVA\u003c/i>, the Richmond Art Center, the San Francisco International Arts Festival and San Francisco Contemporary Music Players all received emails that their ongoing NEA grants were canceled.\u003c/p>\n\u003cp>“\u003ca href=\"https://sfcmp.org/concerts/2024-2025-season/shared-rituals/\">Our program\u003c/a> is happening next Saturday, and the loss of $20K is a major fiscal blow to our organization,” Richard Aldag, executive director of SFCMP, wrote to KQED.\u003c/p>\n\u003cp>[aside postID='arts_13973894']\u003ca href=\"https://www.kqed.org/news/tag/womens-audio-mission\">Women’s Audio Mission\u003c/a> had been awarded $45,000 from the NEA to support Girls on the Mic, a free music and media arts training and mentorship program with a focus on girls and gender-diverse youth. Those funds were pulled Friday, executive director Terri Winston said.\u003c/p>\n\u003cp>“I can understand changing priorities moving forward, but withdrawing funds after they had been approved is pretty cruel,” said Winston.\u003c/p>\n\u003cp>Dance organizations ODC, Flyaway Productions and Dance Mission all had grant funds canceled, as did the Omnira Institute in Oakland, which had been awarded $10,000 to support a festival of Black music and art. The \u003cem>\u003ca href=\"https://www.sfchronicle.com/entertainment/article/bay-area-nea-cuts-trump-20308037.php\">San Francisco Chronicle\u003c/a>\u003c/em> reported Saturday that Circo Zero and New Conservatory Theatre Center had their funding canceled.\u003c/p>\n\u003cp>Larger arts groups were not spared in Friday’s slashing of funds. A representative of both \u003ca href=\"https://www.kqed.org/arts/tag/berkeley-rep\">Berkeley Repertory Theatre\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/act\">American Conservatory Theater\u003c/a> confirmed to KQED that the long-running theater companies received the cancellation email. The 42-year-old \u003ca href=\"https://www.kqed.org/arts/tag/sfjazz\">SFJAZZ\u003c/a> and 55-year-old \u003ca href=\"https://www.kqed.org/arts/tag/theatreworks-silicon-valley\">TheatreWorks Silicon Valley\u003c/a> also had their NEA grants canceled.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Both The Lab and Oakland Theater Project have submitted applications, currently pending, for future NEA grants. It’s uncertain if any grants submitted under the previous guidelines will be awarded.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated 10:05 p.m. Monday.\u003c/i>\u003c/p>\n\u003cp>More than a dozen Bay Area arts nonprofits received emails the afternoon of May 2 that their grants from the \u003ca href=\"https://www.kqed.org/arts/tag/nea\">National Endowment for the Arts\u003c/a> have been canceled.\u003c/p>\n\u003cp>The cancellations affect a wide range of Bay Area arts organizations, including \u003ca href=\"https://www.kqed.org/arts/tag/berkeley-rep\">Berkeley Repertory Theatre\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/tag/frameline\">Frameline\u003c/a> film festival, \u003ca href=\"https://www.kqed.org/arts/tag/sfjazz\">SFJAZZ\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/the-lab\">The Lab\u003c/a>. The emails stated that “the NEA is updating its grantmaking policy priorities to focus funding on projects that reflect the nation’s rich artistic heritage and creativity as prioritized by the President.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a budget proposal released on May 2, \u003ca href=\"https://www.americantheatre.org/2025/05/02/trump-proposes-elimination-of-nea-and-neh/\">President Trump called for eliminating the NEA entirely\u003c/a>, along with the National Endowment for the Humanities and the Institute of Museum and Library Sciences.\u003c/p>\n\u003cp>The grant terminations are effective as of May 31, 2025. Affected grantees now have until June 30, 2025 to make a final payment request — if they are able to complete their awarded projects by the end of May.\u003c/p>\n\u003ch2>Trump’s new priorities\u003c/h2>\n\u003cp>The NEA’s Grants for the Arts, issued twice a year, historically range in value from $10,000 to $100,000 and support arts nonprofits in all 50 states, Puerto Rico, and Washington, D.C. The most recent \u003ca href=\"https://www.kqed.org/arts/13970297/nea-grants-list-of-sf-bay-area-organizations-receiving-grants-in-2025\">grant announcement in January\u003c/a> totaled nearly $36.8 million, spread across 1,474 awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" title=\"Bay Area National Endowment for the Arts Grantees\" aria-label=\"Table\" id=\"datawrapper-chart-RKmYG\" src=\"https://datawrapper.dwcdn.net/RKmYG/5/\" scrolling=\"no\" frameborder=\"0\" style=\"border: none;\" width=\"800\" height=\"650\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Previous NEA chair Maria Rosario Jackson, who had been appointed by former President Joe Biden, resigned on Jan. 20, the day of Trump’s inauguration. Mary Anne Carter, Trump’s NEA chair during his 2017-2020 administration, is currently overseeing the agency.\u003c/p>\n\u003cp>The termination emails received by grantees list the updated priorities of the NEA as “projects that elevate the Nation’s HBCUs and Hispanic Serving Institutions, celebrate the 250th anniversary of American independence, foster AI competency, empower houses of worship to serve communities, assist with disaster recovery, foster skilled trade jobs, make America healthy again, support the military and veterans, support Tribal communities, make the District of Columbia safe and beautiful, and support the economic development of Asian American communities.”\u003c/p>\n\u003cfigure id=\"attachment_13975664\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975664\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000.jpg\" alt=\"gallery space with tables and sculptures, lights on floor\" width=\"2000\" height=\"1036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-800x414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-1020x528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-768x398.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-1536x796.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/250221_TheLab_PeterSiminsky_ArcaneTransmissions_RDH_097-Smaller_2000-1920x995.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘arcane transmissions,’ presented by The Lab and cloaca projects, based on an original conception by Peter Simensky. The exhibition and performance series was funded by a National Endowment for the Humanities grant. \u003ccite>(Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While some of these are familiar to arts nonprofits who have previously applied for NEA grants, projects intended to “foster AI competency” and “make America healthy again” stood out as new additions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Confusingly, some organizations had funding rescinded for projects that, in fact, met the NEA’s new criteria. The \u003ca href=\"https://www.californiasymphony.org/\">California Symphony\u003c/a>, for instance, had $10,000 in grant funds terminated, resulting in the possible cancellation of a commission by its composer-in-residence, Saad Haddad.\u003c/p>\n\u003cp>“The unfortunate irony,” symphony director Donato Cabrara told KQED, “is that this final commission was to help celebrate the 250th anniversary of American independence, one of the new criteria listed by the NEA.”\u003c/p>\n\u003ch2>A ‘roller-coaster ride’\u003c/h2>\n\u003cp>\u003ca href=\"https://www.scrap-sf.org/\">SCRAP\u003c/a>, the San Francisco creative reuse center, was proud to announce its very first NEA grant in January. But since then, the $25,000 in funds have been effectively frozen. SCRAP received notice that their funding recommendation had been withdrawn on Friday. The grant was meant to support staff and teaching artists running a sustainable fashion design program for underserved youth.\u003c/p>\n\u003cp>The nonprofit now has seven calendar days to appeal the decision. SCRAP’s Director of Programs Danielle Grant says it’s unlikely they will appeal. “We don’t fit any of those ‘new priorities,’” she told KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://oaklandtheaterproject.org/\">Oakland Theater Project\u003c/a>, which received a $30,000 award in 2024 for the world premiere production of Erik Ehn’s \u003ci>Moby Dick\u003c/i>, was also among the affected nonprofits. Managing Director Colin Mandlin said they have received about half of the funds from the NEA, which were meant to cover a two-year granting period.\u003c/p>\n\u003cp>Just last month, Oakland Theater Project was hit by other federal funding cuts: Their $25,000 grant from California Humanities \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">was canceled\u003c/a> when the National Endowment for the Humanities \u003ca href=\"https://www.npr.org/2025/04/03/nx-s1-5350994/neh-grants-cut-humanities-doge-trump\">canceled millions of dollars\u003c/a> in previously awarded federal grants to arts and cultural groups across the country.\u003c/p>\n\u003cp>“The roller-coaster ride continues,” Mandlin wrote in an email to KQED.\u003c/p>\n\u003cp>\u003ci>Moby Dick\u003c/i> was scheduled to premiere in 2026; it’s unlikely Oakland Theater Project will be able to receive their full grant amount by the June deadline. Mandlin said they’ll have to revisit the extent of their plans for the production. “It’s more ambitious, world premieres, when we’re commissioning a piece from scratch,” Mandlin said. “Commissioning a play costs a substantial amount of funds.”\u003c/p>\n\u003cfigure id=\"attachment_13937813\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937813\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-TheLab-25-BL_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Smith at The Lab in November 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Uncertainty in all sizes\u003c/h2>\n\u003cp>The grant cancellations are particularly dire for smaller arts organizations with smaller operating budgets, for which an NEA grant can constitute substantial assistance.\u003c/p>\n\u003cp>Andrew Smith, executive director of the San Francisco experimental arts space \u003ca href=\"https://www.kqed.org/arts/13937804/the-lab-new-lease-redstone-building-sf-labor-temple\">The Lab\u003c/a>, also received the notice-of-termination email — twice. Both projects, Smith said, have thankfully been completed and fully reimbursed.\u003c/p>\n\u003cp>Expecting something like this grant termination to happen, Smith pushed NEA-funded programming from the fall to the spring in order to submit for reimbursement as quickly as possible.\u003c/p>\n\u003cp>Additionally, the literary magazine \u003ci>ZYZZYVA\u003c/i>, the Richmond Art Center, the San Francisco International Arts Festival and San Francisco Contemporary Music Players all received emails that their ongoing NEA grants were canceled.\u003c/p>\n\u003cp>“\u003ca href=\"https://sfcmp.org/concerts/2024-2025-season/shared-rituals/\">Our program\u003c/a> is happening next Saturday, and the loss of $20K is a major fiscal blow to our organization,” Richard Aldag, executive director of SFCMP, wrote to KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/womens-audio-mission\">Women’s Audio Mission\u003c/a> had been awarded $45,000 from the NEA to support Girls on the Mic, a free music and media arts training and mentorship program with a focus on girls and gender-diverse youth. Those funds were pulled Friday, executive director Terri Winston said.\u003c/p>\n\u003cp>“I can understand changing priorities moving forward, but withdrawing funds after they had been approved is pretty cruel,” said Winston.\u003c/p>\n\u003cp>Dance organizations ODC, Flyaway Productions and Dance Mission all had grant funds canceled, as did the Omnira Institute in Oakland, which had been awarded $10,000 to support a festival of Black music and art. The \u003cem>\u003ca href=\"https://www.sfchronicle.com/entertainment/article/bay-area-nea-cuts-trump-20308037.php\">San Francisco Chronicle\u003c/a>\u003c/em> reported Saturday that Circo Zero and New Conservatory Theatre Center had their funding canceled.\u003c/p>\n\u003cp>Larger arts groups were not spared in Friday’s slashing of funds. A representative of both \u003ca href=\"https://www.kqed.org/arts/tag/berkeley-rep\">Berkeley Repertory Theatre\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/act\">American Conservatory Theater\u003c/a> confirmed to KQED that the long-running theater companies received the cancellation email. The 42-year-old \u003ca href=\"https://www.kqed.org/arts/tag/sfjazz\">SFJAZZ\u003c/a> and 55-year-old \u003ca href=\"https://www.kqed.org/arts/tag/theatreworks-silicon-valley\">TheatreWorks Silicon Valley\u003c/a> also had their NEA grants canceled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both The Lab and Oakland Theater Project have submitted applications, currently pending, for future NEA grants. It’s uncertain if any grants submitted under the previous guidelines will be awarded.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "First Round of Awardees Announced for San Francisco’s Culture Forward Grants",
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"content": "\u003cp>In a press conference on Friday with \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> Mayor Daniel Lurie, the first-ever recipients of \u003ca href=\"https://www.kqed.org/arts/13967182/svane-family-foundation-culture-forward-grant\">Culture Forward grants\u003c/a> were announced.\u003c/p>\n\u003cp>Funded by the Svane Family Foundation and meant to revitalize the city’s downtown, the Culture Forward initiative plans to award $5 million over the next three years to artists and organizations for creative projects that can attract “students, young professionals and families” to the city core.\u003c/p>\n\u003cp>While the grants are open to applicants outside of the Bay Area, the first cohort of grant recipients are all local.\u003c/p>\n\u003cfigure id=\"attachment_13974860\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd gathers at Unity Fest, a celebration of queer skateboarding, in October 2024. \u003ccite>(Courtesy Unity Press & Skateboarding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The initial recipients and their projects are:\u003c/p>\n\u003cp>\u003cstrong>Chinese Culture Foundation of San Francisco\u003c/strong>: $50,000 for a street festival along Chinatown’s Grant Avenue with large-scale installations and performances, celebrating the Chinese Culture Center’s 60th anniversary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>City Arts & Lectures\u003c/strong>: $25,000 for a salon series featuring live conversations with artists and thinkers, and interactivity with the audience.\u003c/p>\n\u003cp>\u003cstrong>Jeffrey Cheung / Unity Press & Skateboarding\u003c/strong>: $100,000 for a celebration of queer, trans and BIPOC communities through art, skateboarding and music events in downtown venues and public spaces.\u003c/p>\n\u003cp>\u003cstrong>Market Street Arts / Mid-Market Foundation\u003c/strong>: $75,000 for the return of \u003cem>UNSTAGED – Live on Mid-Market\u003c/em>, a festival including performance, public art and live events.\u003c/p>\n\u003cp>[aside postID='arts_13974119']\u003cstrong>SFFILM\u003c/strong>: $50,000 for a series of 12 film events for students, educators and families at SFMOMA with filmmaker Q&As and screenings.\u003c/p>\n\u003cp>\u003cstrong>SFJAZZ\u003c/strong>: $50,000 for a series of community-focused jazz events combining live music, visual art, food and local markets.\u003c/p>\n\u003cp>\u003cstrong>SOMArts Cultural Center\u003c/strong>: $25,000 for a workshop series focused on LGBTQ+ culture culminating in an all-ages fashion show and community Vogue Ball in SoMa.\u003c/p>\n\u003cp>\u003cstrong>Tenderloin Museum\u003c/strong>: $50,000 for the museum’s 10-year anniversary programming, a year-long celebration with storytelling and multidisciplinary events highlighting the neighborhood’s legacy.\u003c/p>\n\u003cp>\u003cstrong>David Wilson\u003c/strong>: $25,000 for a participatory art installation using site-specific painting, sound and maps to take participants on a journey across downtown, accompanied by an exhibition and event series.\u003c/p>\n\u003cp>\u003cstrong>Yerba Buena Gardens Festival\u003c/strong>: $75,000 for the return of the Children’s Gardens Series, a family series with 22 free outdoor performances of dance, theater and music.\u003c/p>\n\u003cfigure id=\"attachment_13974858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performance at the Yerba Buena Gardens Festival, a recipient of this year’s Culture Forward grant. \u003ccite>(Courtesy Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As mayor, my job is to make downtown clean and safe, and create the conditions for people to want to return. I believe a thriving arts and culture scene is crucial to that work,” Mayor Lurie said in a statement.\u003c/p>\n\u003cp>Joining Mayor Lurie were former Zendesk CEO Mikkel Svane and Ella Svane of the Svane Family Foundation, along with program consultant lead Kelsey Issel. The Svane Family Foundation has previously supported Bay Area artists with $10,000 grants during the pandemic, as well as a $1 million gift to the Fine Arts Museums of San Francisco to acquire 42 works by Bay Area artists from historically underrepresented backgrounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Future Culture Forward recipients will be eligible for amounts ranging from $10,000–$100,000 for projects in the Financial District, SoMa, the Tenderloin, Civic Center, Mid-Market, Union Square, Tenderloin, Chinatown and Mission Bay. Applications, reviewed on a rolling basis, are available on \u003ca href=\"https://svanefamilyfoundation.submittable.com/submit\">the Culture Forward site\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a press conference on Friday with \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> Mayor Daniel Lurie, the first-ever recipients of \u003ca href=\"https://www.kqed.org/arts/13967182/svane-family-foundation-culture-forward-grant\">Culture Forward grants\u003c/a> were announced.\u003c/p>\n\u003cp>Funded by the Svane Family Foundation and meant to revitalize the city’s downtown, the Culture Forward initiative plans to award $5 million over the next three years to artists and organizations for creative projects that can attract “students, young professionals and families” to the city core.\u003c/p>\n\u003cp>While the grants are open to applicants outside of the Bay Area, the first cohort of grant recipients are all local.\u003c/p>\n\u003cfigure id=\"attachment_13974860\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974860\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Unity-Press-Skateboarding-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd gathers at Unity Fest, a celebration of queer skateboarding, in October 2024. \u003ccite>(Courtesy Unity Press & Skateboarding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The initial recipients and their projects are:\u003c/p>\n\u003cp>\u003cstrong>Chinese Culture Foundation of San Francisco\u003c/strong>: $50,000 for a street festival along Chinatown’s Grant Avenue with large-scale installations and performances, celebrating the Chinese Culture Center’s 60th anniversary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>City Arts & Lectures\u003c/strong>: $25,000 for a salon series featuring live conversations with artists and thinkers, and interactivity with the audience.\u003c/p>\n\u003cp>\u003cstrong>Jeffrey Cheung / Unity Press & Skateboarding\u003c/strong>: $100,000 for a celebration of queer, trans and BIPOC communities through art, skateboarding and music events in downtown venues and public spaces.\u003c/p>\n\u003cp>\u003cstrong>Market Street Arts / Mid-Market Foundation\u003c/strong>: $75,000 for the return of \u003cem>UNSTAGED – Live on Mid-Market\u003c/em>, a festival including performance, public art and live events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>SFFILM\u003c/strong>: $50,000 for a series of 12 film events for students, educators and families at SFMOMA with filmmaker Q&As and screenings.\u003c/p>\n\u003cp>\u003cstrong>SFJAZZ\u003c/strong>: $50,000 for a series of community-focused jazz events combining live music, visual art, food and local markets.\u003c/p>\n\u003cp>\u003cstrong>SOMArts Cultural Center\u003c/strong>: $25,000 for a workshop series focused on LGBTQ+ culture culminating in an all-ages fashion show and community Vogue Ball in SoMa.\u003c/p>\n\u003cp>\u003cstrong>Tenderloin Museum\u003c/strong>: $50,000 for the museum’s 10-year anniversary programming, a year-long celebration with storytelling and multidisciplinary events highlighting the neighborhood’s legacy.\u003c/p>\n\u003cp>\u003cstrong>David Wilson\u003c/strong>: $25,000 for a participatory art installation using site-specific painting, sound and maps to take participants on a journey across downtown, accompanied by an exhibition and event series.\u003c/p>\n\u003cp>\u003cstrong>Yerba Buena Gardens Festival\u003c/strong>: $75,000 for the return of the Children’s Gardens Series, a family series with 22 free outdoor performances of dance, theater and music.\u003c/p>\n\u003cfigure id=\"attachment_13974858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performance at the Yerba Buena Gardens Festival, a recipient of this year’s Culture Forward grant. \u003ccite>(Courtesy Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As mayor, my job is to make downtown clean and safe, and create the conditions for people to want to return. I believe a thriving arts and culture scene is crucial to that work,” Mayor Lurie said in a statement.\u003c/p>\n\u003cp>Joining Mayor Lurie were former Zendesk CEO Mikkel Svane and Ella Svane of the Svane Family Foundation, along with program consultant lead Kelsey Issel. The Svane Family Foundation has previously supported Bay Area artists with $10,000 grants during the pandemic, as well as a $1 million gift to the Fine Arts Museums of San Francisco to acquire 42 works by Bay Area artists from historically underrepresented backgrounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Future Culture Forward recipients will be eligible for amounts ranging from $10,000–$100,000 for projects in the Financial District, SoMa, the Tenderloin, Civic Center, Mid-Market, Union Square, Tenderloin, Chinatown and Mission Bay. Applications, reviewed on a rolling basis, are available on \u003ca href=\"https://svanefamilyfoundation.submittable.com/submit\">the Culture Forward site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bay Area arts and cultural groups are reeling after the \u003ca href=\"https://www.kqed.org/arts/tag/trump\">Trump administration\u003c/a>’s revocation earlier this month of previously awarded federal grants from the National Endowment for the Humanities.\u003c/p>\n\u003cp>\u003ca href=\"https://livingnewdeal.org/\">Living New Deal\u003c/a> Assistant Director Mary Okin recalled getting the email with a cancellation notice for the Oakland-based non profit’s $150,000 grant and being thrown by the non-governmental address.\u003c/p>\n\u003cp>“It was from something like ‘NEH emails on microsoft.com’ or something,” said Okin, “and I went, what the hell is that?”\u003c/p>\n\u003cp>The Living New Deal is a crowdsourcing project that maps the buildings, art and infrastructure created by Americans under President Roosevelt’s \u003ca href=\"https://www.kqed.org/forum/201111240900/the-new-deal-a-modern-history\">New Deal\u003c/a> policies during the Great Depression. \u003c/p>\n\u003cfigure id=\"attachment_13974743\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM.png\" alt=\"\" width=\"1498\" height=\"1524\" class=\"size-full wp-image-13974743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM-800x814.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM-1020x1038.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM-160x163.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM-768x781.png 768w\" sizes=\"auto, (max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A map of sites monitored by the Living New Deal, which had its National Endowment for the Humanities funding rescinded by the Trump administration. Each dot represents a New Deal site in the Bay Area. \u003ccite>(Living New Deal )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it’s really important for people to know about the New Deal and all of what it did, because it’s such a model for what we can still do as a society,” said Okin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okin said more than a million people use it each year, and the effort had won federal support on its first try. She says without the NEH money, progress on the project will slow.\u003c/p>\n\u003cp>At 20 Hawthorne, one block from San Francisco’s Museum of Modern Art, archivists Jeff Gunderson and Becky Alexander are \u003ca href=\"https://www.kqed.org/arts/13925086/new-sfai-legacy-foundation-archive-art-school-closed\">engaged in safeguarding and sharing\u003c/a> 152 years of historic materials and artwork from the now-shuttered San Francisco Art Institute through their nonprofit \u003ca href=\"https://www.sfailegacyarchive.org/\">SFAI Legacy Foundation + Archive\u003c/a>. They, too, had NEH support.\u003c/p>\n\u003cfigure id=\"attachment_13974742\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13974742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Gunderson, librarian and archivist, goes through work from the school’s alumni in the library at the San Francisco Art Institute in San Francisco on Feb. 1, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I do get a kick out of the things that survived pre-1906 earthquake and fire, like the early board minutes,” said Gunderson, “but then there’s all the stuff dealing with the founding of the photography department by Ansel Adams, and student artists right up until the very end who were making really curious, interesting things in that crucible up there on Russian Hill.”\u003c/p>\n\u003cp>“We have a great trophy from the SFMOMA Artists Soapbox Derby that some of the final students from SFAI participated in, and one of the cars won the award for Most Impractical, which we have proudly displayed here,” mused Alexander.\u003c/p>\n\u003cp>Before learning of the cuts, they’d managed to use about 75% of a $234,000 NEH award toward preserving the collection, and were counting on the remaining funds. “So now we’re in kind of full-blown fundraising mode,” said Gunderson.\u003c/p>\n\u003cp>[aside postID='arts_13974246']Groups like SFAI Legacy and the Living New Deal don’t have many options at the state level, either. \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">California Humanities has also been cut off from federal funds\u003c/a>. The statewide body gets over 90% of its funding from the National Endowment for the Humanities, and that money has supported local community groups, museums, and libraries across the state.\u003c/p>\n\u003cp>“Unfortunately, our loss is also going to be their loss,” said California Humanities CEO Rick Noguchi. He says the organization plans to rely on savings until it runs out; likely in about a year.\u003c/p>\n\u003cp>“Humanities in California and across the country really need to be supported at this time,” said Noguchi, “It’s really critical for our democracy.”\u003c/p>\n\u003cfigure id=\"attachment_13974744\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut.jpg\" alt=\"\" width=\"1920\" height=\"1197\" class=\"size-full wp-image-13974744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut-1536x958.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Angel Island Immigration Station on Angel Island in San Francisco Bay. \u003ccite>(Marisol Medina-Cadena)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those like Noguchi call the revoking of federal funds an attack on history, culture and the arts, and say the savings are meager.\u003c/p>\n\u003cp>NEH officials have \u003ca href=\"https://www.npr.org/2025/04/03/nx-s1-5350994/neh-grants-cut-humanities-doge-trump\">said\u003c/a> the Trump administration hoped to “claw back” $175 million dollars in grant money not yet disbursed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other NEH-funded projects in the Bay Area now facing slashed support include a \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=HT-293880-23\">UCSF-hosted digital health archive\u003c/a>, a dialogue-based interpretation strategy at the \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=TA-303968-25\">Angel Island Immigration Station\u003c/a>, a \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=AV-286762-22\">series of community dialogues\u003c/a> with Chinese American war veterans and a \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=PN-295900-24\">UC Berkeley-affiliated storymap\u003c/a> highlighting tribal residents’ relationship to the endangered Hitch fish in Clear Lake.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area arts and cultural groups are reeling after the \u003ca href=\"https://www.kqed.org/arts/tag/trump\">Trump administration\u003c/a>’s revocation earlier this month of previously awarded federal grants from the National Endowment for the Humanities.\u003c/p>\n\u003cp>\u003ca href=\"https://livingnewdeal.org/\">Living New Deal\u003c/a> Assistant Director Mary Okin recalled getting the email with a cancellation notice for the Oakland-based non profit’s $150,000 grant and being thrown by the non-governmental address.\u003c/p>\n\u003cp>“It was from something like ‘NEH emails on microsoft.com’ or something,” said Okin, “and I went, what the hell is that?”\u003c/p>\n\u003cp>The Living New Deal is a crowdsourcing project that maps the buildings, art and infrastructure created by Americans under President Roosevelt’s \u003ca href=\"https://www.kqed.org/forum/201111240900/the-new-deal-a-modern-history\">New Deal\u003c/a> policies during the Great Depression. \u003c/p>\n\u003cfigure id=\"attachment_13974743\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM.png\" alt=\"\" width=\"1498\" height=\"1524\" class=\"size-full wp-image-13974743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM-800x814.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM-1020x1038.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM-160x163.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-16-at-3.34.36-PM-768x781.png 768w\" sizes=\"auto, (max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A map of sites monitored by the Living New Deal, which had its National Endowment for the Humanities funding rescinded by the Trump administration. Each dot represents a New Deal site in the Bay Area. \u003ccite>(Living New Deal )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it’s really important for people to know about the New Deal and all of what it did, because it’s such a model for what we can still do as a society,” said Okin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okin said more than a million people use it each year, and the effort had won federal support on its first try. She says without the NEH money, progress on the project will slow.\u003c/p>\n\u003cp>At 20 Hawthorne, one block from San Francisco’s Museum of Modern Art, archivists Jeff Gunderson and Becky Alexander are \u003ca href=\"https://www.kqed.org/arts/13925086/new-sfai-legacy-foundation-archive-art-school-closed\">engaged in safeguarding and sharing\u003c/a> 152 years of historic materials and artwork from the now-shuttered San Francisco Art Institute through their nonprofit \u003ca href=\"https://www.sfailegacyarchive.org/\">SFAI Legacy Foundation + Archive\u003c/a>. They, too, had NEH support.\u003c/p>\n\u003cfigure id=\"attachment_13974742\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13974742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/019_KQEDArts_SanFranciscoArtInstitute_02012023_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Gunderson, librarian and archivist, goes through work from the school’s alumni in the library at the San Francisco Art Institute in San Francisco on Feb. 1, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I do get a kick out of the things that survived pre-1906 earthquake and fire, like the early board minutes,” said Gunderson, “but then there’s all the stuff dealing with the founding of the photography department by Ansel Adams, and student artists right up until the very end who were making really curious, interesting things in that crucible up there on Russian Hill.”\u003c/p>\n\u003cp>“We have a great trophy from the SFMOMA Artists Soapbox Derby that some of the final students from SFAI participated in, and one of the cars won the award for Most Impractical, which we have proudly displayed here,” mused Alexander.\u003c/p>\n\u003cp>Before learning of the cuts, they’d managed to use about 75% of a $234,000 NEH award toward preserving the collection, and were counting on the remaining funds. “So now we’re in kind of full-blown fundraising mode,” said Gunderson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Groups like SFAI Legacy and the Living New Deal don’t have many options at the state level, either. \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">California Humanities has also been cut off from federal funds\u003c/a>. The statewide body gets over 90% of its funding from the National Endowment for the Humanities, and that money has supported local community groups, museums, and libraries across the state.\u003c/p>\n\u003cp>“Unfortunately, our loss is also going to be their loss,” said California Humanities CEO Rick Noguchi. He says the organization plans to rely on savings until it runs out; likely in about a year.\u003c/p>\n\u003cp>“Humanities in California and across the country really need to be supported at this time,” said Noguchi, “It’s really critical for our democracy.”\u003c/p>\n\u003cfigure id=\"attachment_13974744\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut.jpg\" alt=\"\" width=\"1920\" height=\"1197\" class=\"size-full wp-image-13974744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/RS32767_DSC_0194-qut-1536x958.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Angel Island Immigration Station on Angel Island in San Francisco Bay. \u003ccite>(Marisol Medina-Cadena)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those like Noguchi call the revoking of federal funds an attack on history, culture and the arts, and say the savings are meager.\u003c/p>\n\u003cp>NEH officials have \u003ca href=\"https://www.npr.org/2025/04/03/nx-s1-5350994/neh-grants-cut-humanities-doge-trump\">said\u003c/a> the Trump administration hoped to “claw back” $175 million dollars in grant money not yet disbursed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other NEH-funded projects in the Bay Area now facing slashed support include a \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=HT-293880-23\">UCSF-hosted digital health archive\u003c/a>, a dialogue-based interpretation strategy at the \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=TA-303968-25\">Angel Island Immigration Station\u003c/a>, a \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=AV-286762-22\">series of community dialogues\u003c/a> with Chinese American war veterans and a \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=PN-295900-24\">UC Berkeley-affiliated storymap\u003c/a> highlighting tribal residents’ relationship to the endangered Hitch fish in Clear Lake.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Friday afternoon, April 4, recipients of California Humanities grants received an email announcing the sudden cancellation of their funding from the statewide nonprofit.\u003c/p>\n\u003cp>“We are currently unable to issue any outstanding grant payments,” the email read. “All grants to state humanities and jurisdictions, including California Humanities have been suspended.”\u003c/p>\n\u003cp>California Humanities receives over 90% of its funding from the National Endowment for the Humanities (NEH), which on April 3 \u003ca href=\"https://www.npr.org/2025/04/03/nx-s1-5350994/neh-grants-cut-humanities-doge-trump\">canceled millions of dollars\u003c/a> in previously awarded federal grants to arts and cultural groups across the country.\u003c/p>\n\u003cp>“I hadn’t heard of the NEH, frankly, until last week,” said Matty Lynn Barnes, executive producer of the 30-minute documentary short \u003ci>Living Harriet Tubman\u003c/i>, which received a $30,000 \u003ca href=\"https://calhum.org/2024-california-documentary-project-awards/\">California Documentary Project grant\u003c/a> from Californa Humanities in 2024. “We had zero clue where Cal Humanities money comes from.” \u003c/p>\n\u003cp>Colin Mandlin, managing director of \u003ca href=\"https://oaklandtheaterproject.org/\">Oakland Theater Project\u003c/a>, said he was similarly unaware his organization’s $25,000 grant could be in jeopardy from federal funding cuts. This was the theater’s first grant from California Humanities, which was to go towards environmental justice-focused civic debates, an exhibition, a school workshop series and a walking tour of West Oakland to accompany their 2026 season. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If no other funding comes through, then definitely we’ll have to cut some of these activities,” Mandlin said. Like the \u003ci>Living Harriet Tubman\u003c/i> team, Oakland Theater Project had only received an initial payment of half the grant.\u003c/p>\n\u003cfigure id=\"attachment_13974253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000.jpg\" alt=\"two Black men face each other, smiling and laughing\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13974253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An image from Maya Chupkov’s feature-length documentary, which follows Issac Bailey and Jay Jordan, two Black men who stutter and whose lives are largely shaped by their speech. The film received a $35,000 California Humanities grant in 2023. \u003ccite>(Brian Bowen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maya Chupkov, a recipient of a 2023 California Documentary Project grant for \u003ca href=\"https://www.proudstutter.org/documentary\">a feature-length documentary\u003c/a> based on stories from the podcast \u003ci>Proud Stutter\u003c/i>, had just received her second check from California Humanities when the email came about her canceled award. California Humanities grants are disbursed in 50%, 40% and 10% chunks over the course of supported projects. \u003c/p>\n\u003cp>“I feel grateful that I was able to get the second installment,” she said, “but we’re gonna have to figure out how to fill that hole.” Without the final $3,500 of her grant, she said, she’ll need to reassess a major shoot and do more fundraising.\u003c/p>\n\u003cp>“The independent film world is just really tough right now,” she said.\u003c/p>\n\u003cp>[aside postID='arts_13875290']Barnes and \u003ci>Living Harriet Tubman\u003c/i> director Brandon Tauszik immediately launched \u003ca href=\"https://www.gofundme.com/f/please-help-doge-defunded-our-documentary\">a GoFundMe\u003c/a> for the remaining $15,000 they expected to receive for the film, which tells the story of \u003ca href=\"https://www.kqed.org/arts/13875290/meet-the-civil-war-reenactor-upholding-harriet-tubmans-legacy\">Nancy Whittle\u003c/a>, a Fresno resident who spent 30 years portraying the abolitionist leader at Civil War reenactments across the state.\u003c/p>\n\u003cp>The goal of the film is to “reveal the power of facing painful histories.” (The National Park Service only recently restored \u003ca href=\"https://www.nps.gov/subjects/undergroundrailroad/what-is-the-underground-railroad.htm\">a web page about the Underground Railroad\u003c/a> that had been \u003ca href=\"https://apnews.com/article/harriet-tubman-park-service-trump-dei-a8dbb6fa252518d0598aad5f0ce6f1ab\">changed in February\u003c/a> to remove a large image of Tubman and quotations from her.)\u003c/p>\n\u003cp>“This is a devastating loss to our otherwise self-funded project,” the filmmakers wrote on the fundraising site. “The Trump administration’s cuts to humanities and DEI funding aren’t just budgetary — they’re ideological attempts to erase cultural memory and reshape history.”\u003c/p>\n\u003cfigure id=\"attachment_13974252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000.jpg\" alt=\"two people hold cameras pointed at an older Black woman in front of home\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13974252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Theo Schear and Amelia Alemayehu filming Nancy Whittle outside her home in Fresno during the making of ‘Living Harriet Tubman.’ \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California Humanities was established in 1975 as a nonpartisan affiliate of the NEH, and has awarded over $44 million in grants during its 50 years. In addition to the California Documentary Project, the organization currently funds the programs Humanities for All, the Library Innovation Lab, Literature & Medicine, and Emerging Journalist Fellowships. \u003c/p>\n\u003cp>In other words, as they wrote in an \u003ca href=\"https://calhum.org/save-california-humanities-doge-cuts-to-the-neh-will-damage-cultural-organizaitons-in-our-state/\">April 4 press release\u003c/a>, “We give resources to the organizations and individuals who bring you family library programs, documentary films that uncover little-known CA histories, hospital staff who focus on their patients as people, not pathologies, and stories generated by local journalists, not AI.”\u003c/p>\n\u003cp>California Humanities staff could not be reached for comment on Tuesday. But in the April 4 press release, the organization said it had joined with 56 other state and jurisdictional councils “to strategize how to work together to ensure no humanities council will shut its doors.” \u003c/p>\n\u003cp>Whether any of their grantees will receive the rest of their awards is up in the air. Mandlin notes it’s a difficult time for governmental funding at all levels. “Last year our state of California general operating grant was shrunk, our city of Oakland general operating grant was shrunk,” he said. \u003c/p>\n\u003cp>“It’s another degree of challenge with money that’s already been promised,” Mandlin said. “It can really lead leaders to think about retracting, playing it safe and cutting back in a way that doesn’t serve anyone.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.kqed.org/author/sfaulise\">Shannon Faulise\u003c/a> contributed reporting to this story.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday afternoon, April 4, recipients of California Humanities grants received an email announcing the sudden cancellation of their funding from the statewide nonprofit.\u003c/p>\n\u003cp>“We are currently unable to issue any outstanding grant payments,” the email read. “All grants to state humanities and jurisdictions, including California Humanities have been suspended.”\u003c/p>\n\u003cp>California Humanities receives over 90% of its funding from the National Endowment for the Humanities (NEH), which on April 3 \u003ca href=\"https://www.npr.org/2025/04/03/nx-s1-5350994/neh-grants-cut-humanities-doge-trump\">canceled millions of dollars\u003c/a> in previously awarded federal grants to arts and cultural groups across the country.\u003c/p>\n\u003cp>“I hadn’t heard of the NEH, frankly, until last week,” said Matty Lynn Barnes, executive producer of the 30-minute documentary short \u003ci>Living Harriet Tubman\u003c/i>, which received a $30,000 \u003ca href=\"https://calhum.org/2024-california-documentary-project-awards/\">California Documentary Project grant\u003c/a> from Californa Humanities in 2024. “We had zero clue where Cal Humanities money comes from.” \u003c/p>\n\u003cp>Colin Mandlin, managing director of \u003ca href=\"https://oaklandtheaterproject.org/\">Oakland Theater Project\u003c/a>, said he was similarly unaware his organization’s $25,000 grant could be in jeopardy from federal funding cuts. This was the theater’s first grant from California Humanities, which was to go towards environmental justice-focused civic debates, an exhibition, a school workshop series and a walking tour of West Oakland to accompany their 2026 season. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If no other funding comes through, then definitely we’ll have to cut some of these activities,” Mandlin said. Like the \u003ci>Living Harriet Tubman\u003c/i> team, Oakland Theater Project had only received an initial payment of half the grant.\u003c/p>\n\u003cfigure id=\"attachment_13974253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000.jpg\" alt=\"two Black men face each other, smiling and laughing\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13974253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An image from Maya Chupkov’s feature-length documentary, which follows Issac Bailey and Jay Jordan, two Black men who stutter and whose lives are largely shaped by their speech. The film received a $35,000 California Humanities grant in 2023. \u003ccite>(Brian Bowen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maya Chupkov, a recipient of a 2023 California Documentary Project grant for \u003ca href=\"https://www.proudstutter.org/documentary\">a feature-length documentary\u003c/a> based on stories from the podcast \u003ci>Proud Stutter\u003c/i>, had just received her second check from California Humanities when the email came about her canceled award. California Humanities grants are disbursed in 50%, 40% and 10% chunks over the course of supported projects. \u003c/p>\n\u003cp>“I feel grateful that I was able to get the second installment,” she said, “but we’re gonna have to figure out how to fill that hole.” Without the final $3,500 of her grant, she said, she’ll need to reassess a major shoot and do more fundraising.\u003c/p>\n\u003cp>“The independent film world is just really tough right now,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Barnes and \u003ci>Living Harriet Tubman\u003c/i> director Brandon Tauszik immediately launched \u003ca href=\"https://www.gofundme.com/f/please-help-doge-defunded-our-documentary\">a GoFundMe\u003c/a> for the remaining $15,000 they expected to receive for the film, which tells the story of \u003ca href=\"https://www.kqed.org/arts/13875290/meet-the-civil-war-reenactor-upholding-harriet-tubmans-legacy\">Nancy Whittle\u003c/a>, a Fresno resident who spent 30 years portraying the abolitionist leader at Civil War reenactments across the state.\u003c/p>\n\u003cp>The goal of the film is to “reveal the power of facing painful histories.” (The National Park Service only recently restored \u003ca href=\"https://www.nps.gov/subjects/undergroundrailroad/what-is-the-underground-railroad.htm\">a web page about the Underground Railroad\u003c/a> that had been \u003ca href=\"https://apnews.com/article/harriet-tubman-park-service-trump-dei-a8dbb6fa252518d0598aad5f0ce6f1ab\">changed in February\u003c/a> to remove a large image of Tubman and quotations from her.)\u003c/p>\n\u003cp>“This is a devastating loss to our otherwise self-funded project,” the filmmakers wrote on the fundraising site. “The Trump administration’s cuts to humanities and DEI funding aren’t just budgetary — they’re ideological attempts to erase cultural memory and reshape history.”\u003c/p>\n\u003cfigure id=\"attachment_13974252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000.jpg\" alt=\"two people hold cameras pointed at an older Black woman in front of home\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13974252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Theo Schear and Amelia Alemayehu filming Nancy Whittle outside her home in Fresno during the making of ‘Living Harriet Tubman.’ \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California Humanities was established in 1975 as a nonpartisan affiliate of the NEH, and has awarded over $44 million in grants during its 50 years. In addition to the California Documentary Project, the organization currently funds the programs Humanities for All, the Library Innovation Lab, Literature & Medicine, and Emerging Journalist Fellowships. \u003c/p>\n\u003cp>In other words, as they wrote in an \u003ca href=\"https://calhum.org/save-california-humanities-doge-cuts-to-the-neh-will-damage-cultural-organizaitons-in-our-state/\">April 4 press release\u003c/a>, “We give resources to the organizations and individuals who bring you family library programs, documentary films that uncover little-known CA histories, hospital staff who focus on their patients as people, not pathologies, and stories generated by local journalists, not AI.”\u003c/p>\n\u003cp>California Humanities staff could not be reached for comment on Tuesday. But in the April 4 press release, the organization said it had joined with 56 other state and jurisdictional councils “to strategize how to work together to ensure no humanities council will shut its doors.” \u003c/p>\n\u003cp>Whether any of their grantees will receive the rest of their awards is up in the air. Mandlin notes it’s a difficult time for governmental funding at all levels. “Last year our state of California general operating grant was shrunk, our city of Oakland general operating grant was shrunk,” he said. \u003c/p>\n\u003cp>“It’s another degree of challenge with money that’s already been promised,” Mandlin said. “It can really lead leaders to think about retracting, playing it safe and cutting back in a way that doesn’t serve anyone.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.kqed.org/author/sfaulise\">Shannon Faulise\u003c/a> contributed reporting to this story.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "city-of-san-francisco-cancels-14-million-in-dream-keeper-initiative-funding",
"title": "City of San Francisco Cancels $14 Million in Dream Keeper Initiative Funding",
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"content": "\u003cp>The City of \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> has officially canceled $14.4 million in grants to more than 30 San Francisco-based cultural organizations working in social services and the arts.\u003c/p>\n\u003cp>In a March 26 email, organizations including the African American Shakespeare Company and San Francisco Bay Area Theatre Company were notified that former grant awards and agreements under the Dream Keepers Initiative had been rescinded. The organizations are welcome to submit new proposals, the email said. \u003c/p>\n\u003cp>Organizations whose funds were canceled include the Chinese Culture Foundation ($200,000), the Transgender District ($375,000), Zaccho Dance Theatre ($300,000) and Fillmore Jazz Ambassadors ($210,000).\u003c/p>\n\u003cp>The grant cancellations come as the city attempts to revamp its Dream Keeper Initiative, launched in February of 2021 as a response to the murder of George Floyd. The initiative had aimed to invest $60 million in Black communities and organizations annually. One recipient, the Booker T. Washington Community Service Center, had recently been awarded $1,750,000 across four separate grants. \u003c/p>\n\u003cfigure id=\"attachment_13960996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Chinese Culture Center in Portsmouth Square. The Chinese Culture Foundation is one of more than 30 organizations which have had funding from the city rescinded. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But financial scandals, like one relating to former Human Rights Commission head \u003ca href=\"https://www.kqed.org/news/12004687/mayor-breed-taps-new-sf-human-rights-director-as-misspending-scrutiny-intensifies\">Sheryl Davis\u003c/a>, and another relating to former city official \u003ca href=\"https://www.sf.gov/news--release-additional-information-contracts-grants-dwayne-jones-related-entities-following-criminal-charges\">Rudolph Dwayne Jones\u003c/a>, caused former mayor London Breed to freeze all Dream Keeper Initiative funds in September of 2024. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those frozen funds have now been officially rescinded. Under Mayor Daniel Lurie, the city is preparing a rebranded version of the initiative that promises more transparency and accountability going forward. \u003c/p>\n\u003cp>“We are implementing stronger oversight measures to ensure funding reaches the communities it was intended to serve — especially those that have historically been kept out of access to critical resources,” acting Human Rights Commission executive director Mawuli Tugbenyoh said in a statement. Tugbenyoh also noted the commission will be “expanding support for grantees.” \u003c/p>\n\u003cp>[aside postID='arts_13971749']But with previously awarded funding now gone, and without a clear timeline for when new funding will come in to relieve current gaps, some arts organizations are concerned with the way changes are being implemented. \u003c/p>\n\u003cp>“How do we know that the same thing won’t happen again?” said Sherri Young, founder and executive director of the African American Shakespeare Company, which according to a document supplied by the city had $300,000 in recent funding canceled. “Once you start dismantling funding, it takes a lot of effort to bring back, it’s not a quick thing.” \u003c/p>\n\u003cp>Young also expressed frustration at having to create and submit another proposal. “It’s staff members’ time filling out requests for proposals and having meetings and discussions, there’s a lot that goes into it,” she said.\u003c/p>\n\u003cp>Young said she, her staff and board members have discussed potential layoffs as a result of the canceled funds. And while she’s no longer able to commit to plans for the African American Shakespeare Company’s 30th anniversary, Young said she remains hopeful. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Even if I have to donate my time again, which is how I started 30 years ago, I’ll go back to that,” she said. “But I won’t close our doors.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> has officially canceled $14.4 million in grants to more than 30 San Francisco-based cultural organizations working in social services and the arts.\u003c/p>\n\u003cp>In a March 26 email, organizations including the African American Shakespeare Company and San Francisco Bay Area Theatre Company were notified that former grant awards and agreements under the Dream Keepers Initiative had been rescinded. The organizations are welcome to submit new proposals, the email said. \u003c/p>\n\u003cp>Organizations whose funds were canceled include the Chinese Culture Foundation ($200,000), the Transgender District ($375,000), Zaccho Dance Theatre ($300,000) and Fillmore Jazz Ambassadors ($210,000).\u003c/p>\n\u003cp>The grant cancellations come as the city attempts to revamp its Dream Keeper Initiative, launched in February of 2021 as a response to the murder of George Floyd. The initiative had aimed to invest $60 million in Black communities and organizations annually. One recipient, the Booker T. Washington Community Service Center, had recently been awarded $1,750,000 across four separate grants. \u003c/p>\n\u003cfigure id=\"attachment_13960996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13960996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Chinese Culture Center in Portsmouth Square. The Chinese Culture Foundation is one of more than 30 organizations which have had funding from the city rescinded. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But financial scandals, like one relating to former Human Rights Commission head \u003ca href=\"https://www.kqed.org/news/12004687/mayor-breed-taps-new-sf-human-rights-director-as-misspending-scrutiny-intensifies\">Sheryl Davis\u003c/a>, and another relating to former city official \u003ca href=\"https://www.sf.gov/news--release-additional-information-contracts-grants-dwayne-jones-related-entities-following-criminal-charges\">Rudolph Dwayne Jones\u003c/a>, caused former mayor London Breed to freeze all Dream Keeper Initiative funds in September of 2024. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those frozen funds have now been officially rescinded. Under Mayor Daniel Lurie, the city is preparing a rebranded version of the initiative that promises more transparency and accountability going forward. \u003c/p>\n\u003cp>“We are implementing stronger oversight measures to ensure funding reaches the communities it was intended to serve — especially those that have historically been kept out of access to critical resources,” acting Human Rights Commission executive director Mawuli Tugbenyoh said in a statement. Tugbenyoh also noted the commission will be “expanding support for grantees.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But with previously awarded funding now gone, and without a clear timeline for when new funding will come in to relieve current gaps, some arts organizations are concerned with the way changes are being implemented. \u003c/p>\n\u003cp>“How do we know that the same thing won’t happen again?” said Sherri Young, founder and executive director of the African American Shakespeare Company, which according to a document supplied by the city had $300,000 in recent funding canceled. “Once you start dismantling funding, it takes a lot of effort to bring back, it’s not a quick thing.” \u003c/p>\n\u003cp>Young also expressed frustration at having to create and submit another proposal. “It’s staff members’ time filling out requests for proposals and having meetings and discussions, there’s a lot that goes into it,” she said.\u003c/p>\n\u003cp>Young said she, her staff and board members have discussed potential layoffs as a result of the canceled funds. And while she’s no longer able to commit to plans for the African American Shakespeare Company’s 30th anniversary, Young said she remains hopeful. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Even if I have to donate my time again, which is how I started 30 years ago, I’ll go back to that,” she said. “But I won’t close our doors.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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"pbs-newshour": {
"id": "pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
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"order": 14
},
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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