Three Bay Area Nonprofits Win Literary Arts Grants
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San Francisco Awards More Than $10 Million to Artists, Arts Orgs
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"content": "\u003cp>Three Bay Area nonprofits will receive grants from the newly created \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> as part of a national effort to champion literary culture. Berkeley-based \u003ca href=\"https://www.transitbooks.org/\">Transit Books\u003c/a> and San Francisco-based \u003ca href=\"https://www.smallpresstraffic.org/\">Small Press Traffic\u003c/a> and the \u003ca href=\"https://www.catranslation.org/\">Center for the Art of Translation\u003c/a> will share $7.7 million with 37 other organization across the country.\u003c/p>\n\n\n\n\u003cp>The inaugural grant recipients include publishers, residency programs, book festivals and workshop organizers. The fund acknowledges that the literary arts are “the most underfunded artistic discipline in the nation.”\u003c/p>\n\n\n\n\u003cp>“The grant includes a five-year funding commitment toward general operating expenses for Transit Books,” publishers Adam Z. Levy and Ashley Nelson Levy told KQED via email. “To have financial support to run Transit Books as well as a fixed, multi-year commitment is the best resource we can possibly ask for right now, particularly in a time of federal funding cuts that have affected so many arts organizations.”\u003c/p>\n\n\n\n\u003cp>The \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> (LAF) was created in October 2025, but was several years in the making. The need is urgent. The Trump administration continues to threaten the \u003ca href=\"https://www.kqed.org/arts/13978922/california-humanities-national-endowment-humanities-grants-return\">National Endowment for the Humanities\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">National Endowment for the Arts\u003c/a>. Last May, more than a dozen Bay Area arts nonprofits received notices that their NEA grants had been canceled. Though many organizations were eventually able to restore those awards, the funding landscape was thrown into disarray.\u003c/p>\n\n\n\n\u003cp>The LAF was established by seven philanthropic institutions: the Ford Foundation, the Hawthornden Foundation, the Lannan Foundation, the John D. and Catherine T. MacArthur Foundation, the Mellon Foundation, the Poetry Foundation, and one anonymous foundation.\u003c/p>\n\n\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To Michael Holtmann, president of the Center for the Art of Translation (CAT), the LAF grant represents what he calls “an incredible boost to our mission for years to come.” Since 2000, CAT has been focused on bringing the work of underrepresented global writers to English-language readers. But this grant is particularly well-timed: in 2027, CAT will open its first brick-and-mortar location — complete with an event space and a bookstore — in downtown San Francisco.\u003c/p>\n\n\n\n\u003cp>“This grant comes at a thrilling moment of momentum for CAT,” Holtmann told KQED Arts. “This extraordinary show of support ensures that global writers and the translators who bring their work into English will continue to inspire readers and challenge our culture.”\u003c/p>\n\n\n\n\u003cp>Small Press Traffic Director Maxe Crandall says the support from LAF “makes a huge impact on what we can dream for experimental Bay Area poets and artists over the next five years.” The “seedbed” for boundary-pushing poets puts on talks, events and performances and hosts visitors to its \u003ca href=\"https://www.smallpresstraffic.org/currently-post/archives\">print collection reading room\u003c/a>, located inside Et al. gallery in the Mission. Since 2022, Small Press Traffic has also run an interdisciplinary publishing platform called \u003ca href=\"https://www.kqed.org/arts/13913436\">The Back Room\u003c/a>, which put out a summer issue on June 3.\u003c/p>\n\n\n\n\u003cp>“We’re inspired by the swift action of the Literary Arts Fund, in their response to grant cuts and the already abysmal funding for the literary arts in the country (1.9% of arts and culture foundation funding),” Crandall told KQED via email.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>Only two other California nonprofits received the inaugural LAF grant — the \u003ca href=\"https://lareviewofbooks.org/\">Los Angeles Review of Books\u003c/a> and \u003ca href=\"https://kaya.com/\">Kaya Press\u003c/a> — both of which are based in Los Angeles. \u003c/p>\n\n",
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"innerHTML": "\n\u003cp>The inaugural grant recipients include publishers, residency programs, book festivals and workshop organizers. The fund acknowledges that the literary arts are “the most underfunded artistic discipline in the nation.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“The grant includes a five-year funding commitment toward general operating expenses for Transit Books,” publishers Adam Z. Levy and Ashley Nelson Levy told KQED via email. “To have financial support to run Transit Books as well as a fixed, multi-year commitment is the best resource we can possibly ask for right now, particularly in a time of federal funding cuts that have affected so many arts organizations.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> (LAF) was created in October 2025, but was several years in the making. The need is urgent. The Trump administration continues to threaten the \u003ca href=\"https://www.kqed.org/arts/13978922/california-humanities-national-endowment-humanities-grants-return\">National Endowment for the Humanities\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">National Endowment for the Arts\u003c/a>. Last May, more than a dozen Bay Area arts nonprofits received notices that their NEA grants had been canceled. Though many organizations were eventually able to restore those awards, the funding landscape was thrown into disarray.\u003c/p>\n",
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"\n\u003cp>The \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> (LAF) was created in October 2025, but was several years in the making. The need is urgent. The Trump administration continues to threaten the \u003ca href=\"https://www.kqed.org/arts/13978922/california-humanities-national-endowment-humanities-grants-return\">National Endowment for the Humanities\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">National Endowment for the Arts\u003c/a>. Last May, more than a dozen Bay Area arts nonprofits received notices that their NEA grants had been canceled. Though many organizations were eventually able to restore those awards, the funding landscape was thrown into disarray.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The LAF was established by seven philanthropic institutions: the Ford Foundation, the Hawthornden Foundation, the Lannan Foundation, the John D. and Catherine T. MacArthur Foundation, the Mellon Foundation, the Poetry Foundation, and one anonymous foundation.\u003c/p>\n",
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"innerHTML": "\n\u003cp>To Michael Holtmann, president of the Center for the Art of Translation (CAT), the LAF grant represents what he calls “an incredible boost to our mission for years to come.” Since 2000, CAT has been focused on bringing the work of underrepresented global writers to English-language readers. But this grant is particularly well-timed: in 2027, CAT will open its first brick-and-mortar location — complete with an event space and a bookstore — in downtown San Francisco.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“This grant comes at a thrilling moment of momentum for CAT,” Holtmann told KQED Arts. “This extraordinary show of support ensures that global writers and the translators who bring their work into English will continue to inspire readers and challenge our culture.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Small Press Traffic Director Maxe Crandall says the support from LAF “makes a huge impact on what we can dream for experimental Bay Area poets and artists over the next five years.” The “seedbed” for boundary-pushing poets puts on talks, events and performances and hosts visitors to its \u003ca href=\"https://www.smallpresstraffic.org/currently-post/archives\">print collection reading room\u003c/a>, located inside Et al. gallery in the Mission. Since 2022, Small Press Traffic has also run an interdisciplinary publishing platform called \u003ca href=\"https://www.kqed.org/arts/13913436\">The Back Room\u003c/a>, which put out a summer issue on June 3.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Only two other California nonprofits received the inaugural LAF grant — the \u003ca href=\"https://lareviewofbooks.org/\">Los Angeles Review of Books\u003c/a> and \u003ca href=\"https://kaya.com/\">Kaya Press\u003c/a> — both of which are based in Los Angeles. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three Bay Area nonprofits will receive grants from the newly created \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> as part of a national effort to champion literary culture. Berkeley-based \u003ca href=\"https://www.transitbooks.org/\">Transit Books\u003c/a> and San Francisco-based \u003ca href=\"https://www.smallpresstraffic.org/\">Small Press Traffic\u003c/a> and the \u003ca href=\"https://www.catranslation.org/\">Center for the Art of Translation\u003c/a> will share $7.7 million with 37 other organization across the country.\u003c/p>\n\n\n\n\u003cp>The inaugural grant recipients include publishers, residency programs, book festivals and workshop organizers. The fund acknowledges that the literary arts are “the most underfunded artistic discipline in the nation.”\u003c/p>\n\n\n\n\u003cp>“The grant includes a five-year funding commitment toward general operating expenses for Transit Books,” publishers Adam Z. Levy and Ashley Nelson Levy told KQED via email. “To have financial support to run Transit Books as well as a fixed, multi-year commitment is the best resource we can possibly ask for right now, particularly in a time of federal funding cuts that have affected so many arts organizations.”\u003c/p>\n\n\n\n\u003cp>The \u003ca href=\"https://literaryartsfund.org/\">Literary Arts Fund\u003c/a> (LAF) was created in October 2025, but was several years in the making. The need is urgent. The Trump administration continues to threaten the \u003ca href=\"https://www.kqed.org/arts/13978922/california-humanities-national-endowment-humanities-grants-return\">National Endowment for the Humanities\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">National Endowment for the Arts\u003c/a>. Last May, more than a dozen Bay Area arts nonprofits received notices that their NEA grants had been canceled. Though many organizations were eventually able to restore those awards, the funding landscape was thrown into disarray.\u003c/p>\n\n\n\n\u003cp>The LAF was established by seven philanthropic institutions: the Ford Foundation, the Hawthornden Foundation, the Lannan Foundation, the John D. and Catherine T. MacArthur Foundation, the Mellon Foundation, the Poetry Foundation, and one anonymous foundation.\u003c/p>\n\n\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To Michael Holtmann, president of the Center for the Art of Translation (CAT), the LAF grant represents what he calls “an incredible boost to our mission for years to come.” Since 2000, CAT has been focused on bringing the work of underrepresented global writers to English-language readers. But this grant is particularly well-timed: in 2027, CAT will open its first brick-and-mortar location — complete with an event space and a bookstore — in downtown San Francisco.\u003c/p>\n\n\n\n\u003cp>“This grant comes at a thrilling moment of momentum for CAT,” Holtmann told KQED Arts. “This extraordinary show of support ensures that global writers and the translators who bring their work into English will continue to inspire readers and challenge our culture.”\u003c/p>\n\n\n\n\u003cp>Small Press Traffic Director Maxe Crandall says the support from LAF “makes a huge impact on what we can dream for experimental Bay Area poets and artists over the next five years.” The “seedbed” for boundary-pushing poets puts on talks, events and performances and hosts visitors to its \u003ca href=\"https://www.smallpresstraffic.org/currently-post/archives\">print collection reading room\u003c/a>, located inside Et al. gallery in the Mission. Since 2022, Small Press Traffic has also run an interdisciplinary publishing platform called \u003ca href=\"https://www.kqed.org/arts/13913436\">The Back Room\u003c/a>, which put out a summer issue on June 3.\u003c/p>\n\n\n\n\u003cp>“We’re inspired by the swift action of the Literary Arts Fund, in their response to grant cuts and the already abysmal funding for the literary arts in the country (1.9% of arts and culture foundation funding),” Crandall told KQED via email.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>Only two other California nonprofits received the inaugural LAF grant — the \u003ca href=\"https://lareviewofbooks.org/\">Los Angeles Review of Books\u003c/a> and \u003ca href=\"https://kaya.com/\">Kaya Press\u003c/a> — both of which are based in Los Angeles. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "further-triennial-bay-area-arts-grants-community-impact-fund",
"title": "17 Bay Area Arts Groups Receive Grants for Further Triennial Shows",
"publishDate": 1778778020,
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"headTitle": "17 Bay Area Arts Groups Receive Grants for Further Triennial Shows | KQED",
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"content": "\u003cp>Back in September 2024, when the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a> was first announced, the coordinated program of exhibitions and events seemed awfully far away. Now, March 10–June 10, 2027 is just around the corner, and the much-anticipated finer details of this celebration of Bay Area art — past and present — are finally coming into focus.\u003c/p>\n\u003cp>Today, the triennial announced 17 recipients of its Community Impact Fund: grants of $20,000 each for arts organizations with QTBIPOC leadership and operating budgets under $2 million. The funds help ensure that smaller projects and spaces can participate in the triennial, alongside major players like the San Francisco Museum of Modern Art and the Oakland Museum of California.\u003c/p>\n\u003cp>[aside postID='arts_13965626' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240820_BMalone_FurtherTriennial_COVER-1020x574.jpg']Over \u003ca href=\"https://furthertriennial.org/collaborators/\">80 institutions\u003c/a> are already planning to participate in \u003ci>Around Here\u003c/i>, as the inaugural triennial is titled; the programming will include sites from Santa Cruz to Sacramento.\u003c/p>\n\u003cp>“The Bay Area is home to a remarkable constellation of organizations, many devoted to distinct communities that are working with scarce means,” said Kevin B. Chen in today’s announcement. Chen was one of four jurors who evaluated applications for the Community Impact Fund; final recipients were chosen by a randomized process.\u003c/p>\n\u003cp>“The team behind Further Triennial moves with a keen awareness of this vast cultural ecosystem,” Chen stated, “guided by a commitment to ensure that even those without deep reserves can bring their visions to life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Awarded projects include a site-specific wheatpaste installation; artists in dialogue with a collection of queer erotic photography; and a celebration of 50 years of Precita Eyes’ neighborhood murals.\u003c/p>\n\u003cfigure id=\"attachment_13989586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg\" alt=\"galley view with Mission-like structure and cemetery\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation image of ‘California Mission Daze,’ 1988, to be reimagined for ‘James Luna: Mission Daze (Remezca)’ at Southern Exposure. \u003ccite>(Courtesy of Garth Green Gallery and estate of James Luna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the more ambitious presentations is Southern Exposure’s reimagined display of the show \u003ci>California Mission Daze\u003c/i>, first held in San Diego’s Installation Gallery. The \u003ca href=\"https://www.latimes.com/archives/la-xpm-1988-10-12-ca-3251-story.html\">original 1988 exhibition\u003c/a>, created by artists David Avalos, James Luna and Deborah Small along with historian William Weeks, turned a critical eye to the mission system and its treatment of Indigenous people. (The show took place just after Junípero Serra was beatified by the Catholic church; the Spanish missionary was canonized as a saint in 2015.)\u003c/p>\n\u003cp>EastSide Arts Alliance will host two grant-supported shows. One, presented by NAKA Dance Theater, features the textile art of Indigenous Maya Mam women living in East Oakland. The other is a solo show of work by contemporary local artist \u003ca href=\"https://www.conniezheng.com/\">Connie Zheng\u003c/a>, who will map the grassroots, underground networks created by community-led health programs over the past 60 years.\u003c/p>\n\u003cfigure id=\"attachment_13989587\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg\" alt=\"exposed beams with hanging red fabric sculpture underneath\" width=\"1240\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-768x512.jpg 768w\" sizes=\"auto, (max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">Kerri Conlon, ‘Untitled Canopy,’ 2023; Conlon and Leila Weefur will be part of ‘CHURCH,’ curated by marcella faustini at Minnesota Street Project Foundation. \u003ccite>(Courtesy the artist and Minnesota Street Project Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grant recipients include both physical spaces (Santa Cruz’s Indexical, San Francisco’s Root Division) and roving projects like Muni Raised Me, an artist collective responsible for the vibrant, titular \u003ca href=\"https://www.kqed.org/arts/13926133/muni-raised-me-somarts-san-francisco\">SOMArts show in 2023\u003c/a>. (They’re the ones with the tricked-out, decommissioned Muni bus.) For the full list of grantees, see below.\u003c/p>\n\u003ch2>Community Impact Fund grantees\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>500 Capp Street Foundation\u003cbr>\nBlack Panther Party Museum\u003cbr>\nBob Mizer Museum and Photographic Archives\u003cbr>\nChinese Historical Society of America\u003cbr>\nEastSide Arts Alliance\u003cbr>\nHip Hop For Change\u003cbr>\nIndexical\u003cbr>\nKala Art Institute\u003cbr>\nMinnesota Street Project Foundation\u003cbr>\nMuni Raised Me\u003cbr>\nNAKA Dance Theater\u003cbr>\nPrecita Eyes Muralists\u003cbr>\nRoot Division\u003cbr>\nSanta Cruz Museum of Art & History\u003cbr>\nSlash\u003cbr>\nSmall Press Traffic\u003cbr>\nSouthern Exposure\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in September 2024, when the \u003ca href=\"https://www.kqed.org/arts/13965626/further-triennial-northern-california-visual-art-2027\">Further Triennial\u003c/a> was first announced, the coordinated program of exhibitions and events seemed awfully far away. Now, March 10–June 10, 2027 is just around the corner, and the much-anticipated finer details of this celebration of Bay Area art — past and present — are finally coming into focus.\u003c/p>\n\u003cp>Today, the triennial announced 17 recipients of its Community Impact Fund: grants of $20,000 each for arts organizations with QTBIPOC leadership and operating budgets under $2 million. The funds help ensure that smaller projects and spaces can participate in the triennial, alongside major players like the San Francisco Museum of Modern Art and the Oakland Museum of California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over \u003ca href=\"https://furthertriennial.org/collaborators/\">80 institutions\u003c/a> are already planning to participate in \u003ci>Around Here\u003c/i>, as the inaugural triennial is titled; the programming will include sites from Santa Cruz to Sacramento.\u003c/p>\n\u003cp>“The Bay Area is home to a remarkable constellation of organizations, many devoted to distinct communities that are working with scarce means,” said Kevin B. Chen in today’s announcement. Chen was one of four jurors who evaluated applications for the Community Impact Fund; final recipients were chosen by a randomized process.\u003c/p>\n\u003cp>“The team behind Further Triennial moves with a keen awareness of this vast cultural ecosystem,” Chen stated, “guided by a commitment to ensure that even those without deep reserves can bring their visions to life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Awarded projects include a site-specific wheatpaste installation; artists in dialogue with a collection of queer erotic photography; and a celebration of 50 years of Precita Eyes’ neighborhood murals.\u003c/p>\n\u003cfigure id=\"attachment_13989586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg\" alt=\"galley view with Mission-like structure and cemetery\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-SE-1_2000-1536x1023.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation image of ‘California Mission Daze,’ 1988, to be reimagined for ‘James Luna: Mission Daze (Remezca)’ at Southern Exposure. \u003ccite>(Courtesy of Garth Green Gallery and estate of James Luna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the more ambitious presentations is Southern Exposure’s reimagined display of the show \u003ci>California Mission Daze\u003c/i>, first held in San Diego’s Installation Gallery. The \u003ca href=\"https://www.latimes.com/archives/la-xpm-1988-10-12-ca-3251-story.html\">original 1988 exhibition\u003c/a>, created by artists David Avalos, James Luna and Deborah Small along with historian William Weeks, turned a critical eye to the mission system and its treatment of Indigenous people. (The show took place just after Junípero Serra was beatified by the Catholic church; the Spanish missionary was canonized as a saint in 2015.)\u003c/p>\n\u003cp>EastSide Arts Alliance will host two grant-supported shows. One, presented by NAKA Dance Theater, features the textile art of Indigenous Maya Mam women living in East Oakland. The other is a solo show of work by contemporary local artist \u003ca href=\"https://www.conniezheng.com/\">Connie Zheng\u003c/a>, who will map the grassroots, underground networks created by community-led health programs over the past 60 years.\u003c/p>\n\u003cfigure id=\"attachment_13989587\" class=\"wp-caption aligncenter\" style=\"max-width: 1240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg\" alt=\"exposed beams with hanging red fabric sculpture underneath\" width=\"1240\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/FT-MSPF-02-768x512.jpg 768w\" sizes=\"auto, (max-width: 1240px) 100vw, 1240px\">\u003cfigcaption class=\"wp-caption-text\">Kerri Conlon, ‘Untitled Canopy,’ 2023; Conlon and Leila Weefur will be part of ‘CHURCH,’ curated by marcella faustini at Minnesota Street Project Foundation. \u003ccite>(Courtesy the artist and Minnesota Street Project Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grant recipients include both physical spaces (Santa Cruz’s Indexical, San Francisco’s Root Division) and roving projects like Muni Raised Me, an artist collective responsible for the vibrant, titular \u003ca href=\"https://www.kqed.org/arts/13926133/muni-raised-me-somarts-san-francisco\">SOMArts show in 2023\u003c/a>. (They’re the ones with the tricked-out, decommissioned Muni bus.) For the full list of grantees, see below.\u003c/p>\n\u003ch2>Community Impact Fund grantees\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>500 Capp Street Foundation\u003cbr>\nBlack Panther Party Museum\u003cbr>\nBob Mizer Museum and Photographic Archives\u003cbr>\nChinese Historical Society of America\u003cbr>\nEastSide Arts Alliance\u003cbr>\nHip Hop For Change\u003cbr>\nIndexical\u003cbr>\nKala Art Institute\u003cbr>\nMinnesota Street Project Foundation\u003cbr>\nMuni Raised Me\u003cbr>\nNAKA Dance Theater\u003cbr>\nPrecita Eyes Muralists\u003cbr>\nRoot Division\u003cbr>\nSanta Cruz Museum of Art & History\u003cbr>\nSlash\u003cbr>\nSmall Press Traffic\u003cbr>\nSouthern Exposure\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">SFFILM\u003c/a> has awarded $543,000 in grants to film filmmakers from around the world. The funding, \u003ca href=\"https://sffilm.org/sffilm-announces-543k-in-grants-for-filmmakers/\">announced today\u003c/a>, will support over 30 projects ranging from short films to full-length documentaries.\u003c/p>\n\u003cp>While the artistic development grants support filmmakers as far away as Haiti, Honduras, Ghana and Guatemala, a handful of recipients have Bay Area ties — and are telling Bay Area stories. San Francisco-based \u003ca href=\"https://snikflix.com/about\">Sahand Nikoukar\u003c/a>, Berkeley filmmaker \u003ca href=\"https://www.eliviashaw.com/\">Elivia Shaw\u003c/a>, and Stanford professor \u003ca href=\"https://art.stanford.edu/people/jamie-meltzer\">Jamie Meltzer\u003c/a>, as well as San Francisco born-and-raised artist \u003ca href=\"https://www.bravenewfilms.org/roisin_isner\">Róisín Isner\u003c/a> and Richmond’s own \u003ca href=\"https://mariavictoriaponce.com/\">Vicky Ponce\u003c/a> are all SFFILM grantees.\u003c/p>\n\u003cp>Ponce says the funds will assist her with post-production for her comical coming-of-age film, \u003cem>Juan Po and The Last Day of School\u003c/em>.\u003c/p>\n\u003cp>The story, written by Ponce, centers on a 13-year-old boy who wants to impress his teacher, so he gets an in-home perm done by his pops — and then the teenager has to manage the hairy situation that comes thereafter.\u003c/p>\n\u003cp>“It’s about Sierreño music, broccoli haircuts and all the things all the kids are into,” says Ponce during a phone call. A filmmaker whose \u003ca href=\"https://www.kqed.org/arts/13921773/maria-victoria-ponce\">past works\u003c/a> explore the awkward stages of youth and the importance of family connections, she says this feel-good tale is both universal and very grounded in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says having a good story, one that will capture audiences, is just part of the equation when she’s looking for funding these days. After \u003ca href=\"https://www.kqed.org/arts/13975921/national-endowment-for-the-arts-grant-cancellations\">major cuts to national arts funding\u003c/a> this year, “the pot has become smaller,” Ponce says. “People are applying for the same things.” \u003c/p>\n\u003cp>Her saving grace as a full-time filmmaker has come from local grants like the one she just received, the SFFILM/San Francisco Conservatory of Music Sound and Cinema Fellowship, which specifically helps develop an original soundtrack.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s exciting get to save $6,000–$10,000, not having to worry about someone creating my post-music,” says Ponce. “It’s exciting that there are still some grants out there for Bay Area artists.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">SFFILM\u003c/a> has awarded $543,000 in grants to film filmmakers from around the world. The funding, \u003ca href=\"https://sffilm.org/sffilm-announces-543k-in-grants-for-filmmakers/\">announced today\u003c/a>, will support over 30 projects ranging from short films to full-length documentaries.\u003c/p>\n\u003cp>While the artistic development grants support filmmakers as far away as Haiti, Honduras, Ghana and Guatemala, a handful of recipients have Bay Area ties — and are telling Bay Area stories. San Francisco-based \u003ca href=\"https://snikflix.com/about\">Sahand Nikoukar\u003c/a>, Berkeley filmmaker \u003ca href=\"https://www.eliviashaw.com/\">Elivia Shaw\u003c/a>, and Stanford professor \u003ca href=\"https://art.stanford.edu/people/jamie-meltzer\">Jamie Meltzer\u003c/a>, as well as San Francisco born-and-raised artist \u003ca href=\"https://www.bravenewfilms.org/roisin_isner\">Róisín Isner\u003c/a> and Richmond’s own \u003ca href=\"https://mariavictoriaponce.com/\">Vicky Ponce\u003c/a> are all SFFILM grantees.\u003c/p>\n\u003cp>Ponce says the funds will assist her with post-production for her comical coming-of-age film, \u003cem>Juan Po and The Last Day of School\u003c/em>.\u003c/p>\n\u003cp>The story, written by Ponce, centers on a 13-year-old boy who wants to impress his teacher, so he gets an in-home perm done by his pops — and then the teenager has to manage the hairy situation that comes thereafter.\u003c/p>\n\u003cp>“It’s about Sierreño music, broccoli haircuts and all the things all the kids are into,” says Ponce during a phone call. A filmmaker whose \u003ca href=\"https://www.kqed.org/arts/13921773/maria-victoria-ponce\">past works\u003c/a> explore the awkward stages of youth and the importance of family connections, she says this feel-good tale is both universal and very grounded in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says having a good story, one that will capture audiences, is just part of the equation when she’s looking for funding these days. After \u003ca href=\"https://www.kqed.org/arts/13975921/national-endowment-for-the-arts-grant-cancellations\">major cuts to national arts funding\u003c/a> this year, “the pot has become smaller,” Ponce says. “People are applying for the same things.” \u003c/p>\n\u003cp>Her saving grace as a full-time filmmaker has come from local grants like the one she just received, the SFFILM/San Francisco Conservatory of Music Sound and Cinema Fellowship, which specifically helps develop an original soundtrack.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s exciting get to save $6,000–$10,000, not having to worry about someone creating my post-music,” says Ponce. “It’s exciting that there are still some grants out there for Bay Area artists.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A beleaguered San Francisco \u003ca href=\"https://www.kqed.org/arts/tag/grants\">grant\u003c/a> program intended to deliver $19 million to 44 arts and community service organizations has once again halted its rollout because of fairness concerns, \u003ca href=\"https://www.kalw.org/bay-area-news/2025-08-05/san-francisco-awarded-millions-in-grants-and-then-took-them-back\">KALW first reported\u003c/a>. Known as \u003ca href=\"https://www.sf.gov/information--human-rights-commission-funding-opportunities\">Request for Proposals (RFP) 100\u003c/a>, the Human Rights Commission grant was created to support organizations that serve historically marginalized communities, working in areas such as health, education, culture and safety.\u003c/p>\n\u003cp>The city intended RFP 100 as a rebrand of the Dream Keeper Initiative, which Mayor London Breed created in 2021 to address systemic racism and disparities in San Francisco’s Black communities. The initiative funded projects such as job training, backpacks for kids and downpayment assistance for families, but Breed froze the funds in 2024 after the Human Rights Commission’s former head \u003ca href=\"https://www.kqed.org/news/12009818/sf-dream-keeper-scandal-supervisors-urgency-releasing-funds\">resigned amid corruption allegations\u003c/a>, leaving community organizations reeling. [aside postid='arts_13974119,news_12009818']\u003c/p>\n\u003cp>In June, the HRC \u003ca href=\"https://media.api.sf.gov/documents/HRC_RFP_100_Notice_of_Intent_to_Award_06.30.2025_VZk7PgJ.pdf\">announced it would issue awards to organizations\u003c/a> such as the Booker T. Washington Community Service Center, San Francisco LGBT Center, Chinese Culture Center, Youth Art Exchange and Bayview Opera House. But the HRC rescinded the award announcement in late July after a racial equity coalition called MegaBlackSF sent a letter raising concerns about the grant process.\u003c/p>\n\u003cp>\u003ca href=\"https://megablacksf.org/updates/letter-to-the-bos-and-hrc\">The open letter\u003c/a>, which doesn’t have specific signatories listed on MegaBlackSF’s website, alleges potential bias due to use of artificial intelligence to review the applications, among other concerns. The letter claims that the process favors large, established nonprofits, and points out that a large portion of the funding didn’t go to Black-led or Black-centered organizations, which was the initial purpose of the Dream Keeper Initiative.\u003c/p>\n\u003cp>In several statements, the HRC said it is reviewing the RFP 100 evaluation process and will share a revised timeline for the grant on Aug. 8. Human Rights Commission Director Mawuli Tugbenyoh, MegaBlackSF and several of the would-be grantees did not return KQED’s request for comment as of publication time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A beleaguered San Francisco \u003ca href=\"https://www.kqed.org/arts/tag/grants\">grant\u003c/a> program intended to deliver $19 million to 44 arts and community service organizations has once again halted its rollout because of fairness concerns, \u003ca href=\"https://www.kalw.org/bay-area-news/2025-08-05/san-francisco-awarded-millions-in-grants-and-then-took-them-back\">KALW first reported\u003c/a>. Known as \u003ca href=\"https://www.sf.gov/information--human-rights-commission-funding-opportunities\">Request for Proposals (RFP) 100\u003c/a>, the Human Rights Commission grant was created to support organizations that serve historically marginalized communities, working in areas such as health, education, culture and safety.\u003c/p>\n\u003cp>The city intended RFP 100 as a rebrand of the Dream Keeper Initiative, which Mayor London Breed created in 2021 to address systemic racism and disparities in San Francisco’s Black communities. The initiative funded projects such as job training, backpacks for kids and downpayment assistance for families, but Breed froze the funds in 2024 after the Human Rights Commission’s former head \u003ca href=\"https://www.kqed.org/news/12009818/sf-dream-keeper-scandal-supervisors-urgency-releasing-funds\">resigned amid corruption allegations\u003c/a>, leaving community organizations reeling. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In June, the HRC \u003ca href=\"https://media.api.sf.gov/documents/HRC_RFP_100_Notice_of_Intent_to_Award_06.30.2025_VZk7PgJ.pdf\">announced it would issue awards to organizations\u003c/a> such as the Booker T. Washington Community Service Center, San Francisco LGBT Center, Chinese Culture Center, Youth Art Exchange and Bayview Opera House. But the HRC rescinded the award announcement in late July after a racial equity coalition called MegaBlackSF sent a letter raising concerns about the grant process.\u003c/p>\n\u003cp>\u003ca href=\"https://megablacksf.org/updates/letter-to-the-bos-and-hrc\">The open letter\u003c/a>, which doesn’t have specific signatories listed on MegaBlackSF’s website, alleges potential bias due to use of artificial intelligence to review the applications, among other concerns. The letter claims that the process favors large, established nonprofits, and points out that a large portion of the funding didn’t go to Black-led or Black-centered organizations, which was the initial purpose of the Dream Keeper Initiative.\u003c/p>\n\u003cp>In several statements, the HRC said it is reviewing the RFP 100 evaluation process and will share a revised timeline for the grant on Aug. 8. Human Rights Commission Director Mawuli Tugbenyoh, MegaBlackSF and several of the would-be grantees did not return KQED’s request for comment as of publication time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nine philanthropic foundations have joined forces to fill a funding gap created by mid-year budget cuts to Oakland’s \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">Cultural Affairs Division\u003c/a>. The \u003ca href=\"https://www.ebcf.org/post/east-bay-community-foundation-announces-600000-fund-to-support-24-oakland-arts-and-culture-organizations-this-summer/\">$600,000 emergency fund\u003c/a> will channel one-time grants of up to $28,500 to 24 local arts and culture organizations to support their summer programming.\u003c/p>\n\u003cp>The grant recipients initially received funds from Oakland’s Organizational Assistance Program in 2023, expecting the two-year grant to renew for the fiscal year 2024–25. When the city council eliminated the Cultural Affairs Division’s general fund allocation, Acting Cultural Funding Coordinator Pamela Mattera and former Cultural Funding Coordinator Raquel Iglesias led the effort to replace the missing funds.\u003c/p>\n\u003cp>Donations to the emergency pool come from the Akonadi Foundation, East Bay Community Foundation, Fleishhacker Foundation, Gerbode Foundation, Hellman Foundation, Kenneth Rainin Foundation, San Francisco Foundation, Stupski Family Fund and an anonymous source. The East Bay Community Foundation will coordinate the dispersal of funds. \u003c/p>\n\u003cp>The grants are for general operating funds, a rare and valuable category of funding that allows nonprofits to spend money as they see fit. “They can pay for insurance, pay for those programs and community engagement work that they all do,” says Iglesias. “These grants really support everything as opposed to being earmarked for something specific.”\u003c/p>\n\u003cp>The list of 24 grantees includes \u003ca href=\"https://www.kqed.org/arts/13955533/creative-growth-sfmoma-the-house-that-art-built-review\">Creative Growth\u003c/a>, EastSide Arts Alliance, the Oakland Interfaith Gospel Choir and the Oakland Theater Project. Collectively, the grantees support over 600 Oakland-based artists and 10,000 arts and cultural activities, according to today’s announcement. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moving forward, there is no allocation for such grants in the city’s budget. “The future of cultural funding in Oakland is unknown,” Iglesias says.\u003c/p>\n\u003cp>[aside postID='arts_13978209']This is not the first time private foundations have stepped in to help fill gaps left by recent cuts to public funding. The \u003ca href=\"https://www.mellon.org/news/americas-humanities-councils-get-a-lifeline\">Mellon Foundation\u003c/a> announced $15 million in emergency funds for state humanities councils after the National Endowment for the Humanities eliminated funding. The Andy Warhol Foundation and Helen Frankenthaler Foundation committed to fund \u003ca href=\"https://warholfoundation.org/2025/05/07/warhol-and-frankenthaler-foundations-commit-800000-to-support-visual-arts-programs-impacted-by-suspended-nea-grant-initiative/\">80 community arts organizations\u003c/a> affected by the end of the National Endowment for the Arts’ Challenge America Grant.\u003c/p>\n\u003cp>Meanwhile, locally, artists and arts advocates like Iglesias remain committed to advocating for the job of \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">Oakland’s cultural affairs manager\u003c/a>, last held by Roberto Bedoya, who retired in October. (Lex Leifheit is serving as interim manager of cultural affairs through November 2025.) The city council cut the position by adopting Oakland’s latest budget on June 11. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today’s announcement, Iglesias points out, shows just how important it is to have someone advocating for Oakland arts and culture to private foundations. “By allowing that position to come back, it gives the city a chance to raise this money moving forward,” she says. “Without that type of leadership in place, it’s just not possible.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nine philanthropic foundations have joined forces to fill a funding gap created by mid-year budget cuts to Oakland’s \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">Cultural Affairs Division\u003c/a>. The \u003ca href=\"https://www.ebcf.org/post/east-bay-community-foundation-announces-600000-fund-to-support-24-oakland-arts-and-culture-organizations-this-summer/\">$600,000 emergency fund\u003c/a> will channel one-time grants of up to $28,500 to 24 local arts and culture organizations to support their summer programming.\u003c/p>\n\u003cp>The grant recipients initially received funds from Oakland’s Organizational Assistance Program in 2023, expecting the two-year grant to renew for the fiscal year 2024–25. When the city council eliminated the Cultural Affairs Division’s general fund allocation, Acting Cultural Funding Coordinator Pamela Mattera and former Cultural Funding Coordinator Raquel Iglesias led the effort to replace the missing funds.\u003c/p>\n\u003cp>Donations to the emergency pool come from the Akonadi Foundation, East Bay Community Foundation, Fleishhacker Foundation, Gerbode Foundation, Hellman Foundation, Kenneth Rainin Foundation, San Francisco Foundation, Stupski Family Fund and an anonymous source. The East Bay Community Foundation will coordinate the dispersal of funds. \u003c/p>\n\u003cp>The grants are for general operating funds, a rare and valuable category of funding that allows nonprofits to spend money as they see fit. “They can pay for insurance, pay for those programs and community engagement work that they all do,” says Iglesias. “These grants really support everything as opposed to being earmarked for something specific.”\u003c/p>\n\u003cp>The list of 24 grantees includes \u003ca href=\"https://www.kqed.org/arts/13955533/creative-growth-sfmoma-the-house-that-art-built-review\">Creative Growth\u003c/a>, EastSide Arts Alliance, the Oakland Interfaith Gospel Choir and the Oakland Theater Project. Collectively, the grantees support over 600 Oakland-based artists and 10,000 arts and cultural activities, according to today’s announcement. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moving forward, there is no allocation for such grants in the city’s budget. “The future of cultural funding in Oakland is unknown,” Iglesias says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is not the first time private foundations have stepped in to help fill gaps left by recent cuts to public funding. The \u003ca href=\"https://www.mellon.org/news/americas-humanities-councils-get-a-lifeline\">Mellon Foundation\u003c/a> announced $15 million in emergency funds for state humanities councils after the National Endowment for the Humanities eliminated funding. The Andy Warhol Foundation and Helen Frankenthaler Foundation committed to fund \u003ca href=\"https://warholfoundation.org/2025/05/07/warhol-and-frankenthaler-foundations-commit-800000-to-support-visual-arts-programs-impacted-by-suspended-nea-grant-initiative/\">80 community arts organizations\u003c/a> affected by the end of the National Endowment for the Arts’ Challenge America Grant.\u003c/p>\n\u003cp>Meanwhile, locally, artists and arts advocates like Iglesias remain committed to advocating for the job of \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">Oakland’s cultural affairs manager\u003c/a>, last held by Roberto Bedoya, who retired in October. (Lex Leifheit is serving as interim manager of cultural affairs through November 2025.) The city council cut the position by adopting Oakland’s latest budget on June 11. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Today’s announcement, Iglesias points out, shows just how important it is to have someone advocating for Oakland arts and culture to private foundations. “By allowing that position to come back, it gives the city a chance to raise this money moving forward,” she says. “Without that type of leadership in place, it’s just not possible.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-to-save-bay-area-theater-from-collapse-and-closures",
"title": "How Can We Save Bay Area Theater From Collapse? 11 Local Experts Weigh In",
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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": "oakland-arts-budget-cultural-affairs-manager-protests",
"title": "‘Just Makes No Sense’: Protests Continue in Oakland Over Slashed Arts Position",
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"headTitle": "‘Just Makes No Sense’: Protests Continue in Oakland Over Slashed Arts Position | KQED",
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"content": "\u003cp>In most American municipalities, the elimination of one management job in city government would hardly garner notice. But Oakland is not most American municipalities, which explains why, at 2:30 p.m. on Tuesday afternoon, more than 30 people had gathered on the steps of City Hall to call for reinstating the staff position of \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">Cultural Affairs Manager\u003c/a>.\u003c/p>\n\u003cp>“As simply as I can put it, the arts will not get by without this position,” said Cat Brooks, the Oakland artist, activist and previous mayoral candidate. “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\u003cp>It marked the third straight week of organized protests against the elimination of the position in Oakland’s latest budget, which was \u003ca href=\"https://www.kqed.org/news/12043553/alternative-oakland-budget-aims-to-halt-fire-station-closures-boost-police-staffing\">adopted by city council\u003c/a> on June 11. New city expenditures, which cutting the Cultural Affairs Manager would help pay for, include $1.4 million in sideshow prevention, $1 million for the establishment of entertainment zones and an increase to police staffing.\u003c/p>\n\u003cfigure id=\"attachment_13978245\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks speaks at a rally outside of Oakland City Hall protesting the elimination of the Cultural Affairs Manager position from the city budget on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Explaining the need for a Cultural Affairs Manager to the average citizen poses a challenge, several attendees noted. It is a city government job, in a place where many artists and musicians are either unconcerned with or directly opposed to city government.\u003c/p>\n\u003cp>“I used to actually be one of those artists who did not really feel like the city had anything to offer me,” said \u003ca href=\"https://www.kqed.org/arts/tag/kev-choice\">Kev Choice\u003c/a>, a musician and educator who \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">joined the Cultural Arts Commission\u003c/a> in 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for artists savvy with grants — or those who get hired or contracted by nonprofits, which is to say nearly all artists in Oakland — the role of a Cultural Affairs Manager provides crucial support. Equal parts advocate, fundraiser, intermediary and ambassador, its impact more than justifies its \u003ca href=\"https://transparentcalifornia.com/salaries/search/?q=roberto+bedoya&y=\">$170,000 annual salary\u003c/a>, attendees on Tuesday said.\u003c/p>\n\u003cfigure id=\"attachment_13978249\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-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-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Retired Cultural Affairs Manager Roberto Bedoya 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>Most people spoke highly of Roberto Bedoya, the former Cultural Affairs Manager who retired in 2024. Hired in 2016, Bedoya worked as a liaison to other departments, argued against cuts and grant delays, ran the public art program, drafted Oakland’s first-ever cultural plan and, importantly, secured money for the city’s arts and culture sector.\u003c/p>\n\u003cp>After Tuesday’s protest, Bedoya spoke at the city council meeting to note $1.9 million in federal funds and $5 million in public-private partnerships that he had facilitated, and promised that, even in retirement, “I will help you find revenue.” Before he could finish, his microphone was cut off.\u003c/p>\n\u003cp>[aside postID='arts_13957786']The protest and city council meeting on Tuesday stood in stark contrast to the news that, across the Bay, \u003ca href=\"https://www.kqed.org/arts/13978179/san-francisco-artist-grants-sfac-2025-2026\">San Francisco had awarded more than $10 million in grants to artists and arts organizations\u003c/a> just that morning. Vanessa Whang, the chair of Oakland’s Cultural Affairs Commission, said the grants showed that San Francisco’s leaders were being “smart” about their priorities.\u003c/p>\n\u003cp>“Even though they are also facing deficits, they understand an investment in the arts and culture sector is what is going to make the city come back,” Whang said, noting the revenue-generating impact of the arts. “The most positive narrative that we have for Oakland right now is our culture. That’s why we get mentioned in \u003cem>The New York Times\u003c/em>.”\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\">Vaenssa 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>The grants in San Francisco are funded by a hotel tax similar to Oakland’s hotel and lodging tax. Raquel Iglesias, the former cultural funding coordinator who managed the grants program for five years, said that she and Bedoya had urged city administrators to issue grants in 2024 that were delayed, causing the \u003ca href=\"https://www.kqed.org/arts/13957786/oakland-art-and-soul-festival-canceled\">cancellation of events like the annual Art & Soul Festival\u003c/a>.\u003c/p>\n\u003cp>This year, Iglesias said, the Cultural Affairs Divison was given no access to general fund monies for grants. “We had just roughly $180,000 in hotel tax money that we gave out in \u003cem>tiny\u003c/em> grants,” Iglesias explained, adding that she and another staff member had as of last week raised roughly $600,000 from private foundations to backfill the money that the city rescinded for general operating grantees.\u003c/p>\n\u003cp>Oakland Symphony CEO Mieko Hatano, jazz musician and educator John Santos and Living Jazz executive director Lyz Luke joined those who spoke at the council meeting. Oakland Ballet’s artistic director Graham Lustig and Julie Baker, CEO of California Arts Advocates, are among the dozens of others who have urged the city to reinstate the Cultural Affairs Manager position.\u003c/p>\n\u003cfigure id=\"attachment_13978247\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raquel Iglesias (center) attends a rally outside of Oakland City Hall protesting the elimination of the Cultural Affairs Manager position from the city budget on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even those with no direct income from the arts or the nonprofit world spoke on Tuesday about the importance of art and cultural programs.\u003c/p>\n\u003cp>On the City Hall steps, the activist Minister King X held his phone to the loudspeaker microphone so that William “Will Bop” Edwards, currently incarcerated in Solano State Prison, could address the assembled crowd.\u003c/p>\n\u003cp>[aside postID='arts_13969048']“When I was young, we had places to go. We had things to do that would scare us away from trouble. And with those places that involve art and creativity, it would allow us to meet, learn, and understand our neighbors. So when we grew up, we were less likely to want to shoot and kill people that grew up with us, because we had a prior relationship with them,” Edwards said, before an automated prison announcement came over the phone line to say that the call was being monitored and recorded.\u003c/p>\n\u003cp>The group has vowed to keep protesting every week until the Oakland City Council reinstates the position, said Brooks, who referred to investing in art as a “public safety strategy” that provides revenue and jobs.\u003c/p>\n\u003cp>Rachel Sanders, a dancer and poet who moved to Oakland two years ago, said that in addition to the impact on her own practice, she was dismayed at the budget being pushed through without sufficient time for thorough review by the public, or even certain council members.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This move just makes no sense, and it feels like a betrayal,” Sanders said. “And that’s personal, you know? So that’s why I’m here.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In most American municipalities, the elimination of one management job in city government would hardly garner notice. But Oakland is not most American municipalities, which explains why, at 2:30 p.m. on Tuesday afternoon, more than 30 people had gathered on the steps of City Hall to call for reinstating the staff position of \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">Cultural Affairs Manager\u003c/a>.\u003c/p>\n\u003cp>“As simply as I can put it, the arts will not get by without this position,” said Cat Brooks, the Oakland artist, activist and previous mayoral candidate. “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\u003cp>It marked the third straight week of organized protests against the elimination of the position in Oakland’s latest budget, which was \u003ca href=\"https://www.kqed.org/news/12043553/alternative-oakland-budget-aims-to-halt-fire-station-closures-boost-police-staffing\">adopted by city council\u003c/a> on June 11. New city expenditures, which cutting the Cultural Affairs Manager would help pay for, include $1.4 million in sideshow prevention, $1 million for the establishment of entertainment zones and an increase to police staffing.\u003c/p>\n\u003cfigure id=\"attachment_13978245\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks speaks at a rally outside of Oakland City Hall protesting the elimination of the Cultural Affairs Manager position from the city budget on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Explaining the need for a Cultural Affairs Manager to the average citizen poses a challenge, several attendees noted. It is a city government job, in a place where many artists and musicians are either unconcerned with or directly opposed to city government.\u003c/p>\n\u003cp>“I used to actually be one of those artists who did not really feel like the city had anything to offer me,” said \u003ca href=\"https://www.kqed.org/arts/tag/kev-choice\">Kev Choice\u003c/a>, a musician and educator who \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">joined the Cultural Arts Commission\u003c/a> in 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for artists savvy with grants — or those who get hired or contracted by nonprofits, which is to say nearly all artists in Oakland — the role of a Cultural Affairs Manager provides crucial support. Equal parts advocate, fundraiser, intermediary and ambassador, its impact more than justifies its \u003ca href=\"https://transparentcalifornia.com/salaries/search/?q=roberto+bedoya&y=\">$170,000 annual salary\u003c/a>, attendees on Tuesday said.\u003c/p>\n\u003cfigure id=\"attachment_13978249\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-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-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Retired Cultural Affairs Manager Roberto Bedoya 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>Most people spoke highly of Roberto Bedoya, the former Cultural Affairs Manager who retired in 2024. Hired in 2016, Bedoya worked as a liaison to other departments, argued against cuts and grant delays, ran the public art program, drafted Oakland’s first-ever cultural plan and, importantly, secured money for the city’s arts and culture sector.\u003c/p>\n\u003cp>After Tuesday’s protest, Bedoya spoke at the city council meeting to note $1.9 million in federal funds and $5 million in public-private partnerships that he had facilitated, and promised that, even in retirement, “I will help you find revenue.” Before he could finish, his microphone was cut off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The protest and city council meeting on Tuesday stood in stark contrast to the news that, across the Bay, \u003ca href=\"https://www.kqed.org/arts/13978179/san-francisco-artist-grants-sfac-2025-2026\">San Francisco had awarded more than $10 million in grants to artists and arts organizations\u003c/a> just that morning. Vanessa Whang, the chair of Oakland’s Cultural Affairs Commission, said the grants showed that San Francisco’s leaders were being “smart” about their priorities.\u003c/p>\n\u003cp>“Even though they are also facing deficits, they understand an investment in the arts and culture sector is what is going to make the city come back,” Whang said, noting the revenue-generating impact of the arts. “The most positive narrative that we have for Oakland right now is our culture. That’s why we get mentioned in \u003cem>The New York Times\u003c/em>.”\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\">Vaenssa 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>The grants in San Francisco are funded by a hotel tax similar to Oakland’s hotel and lodging tax. Raquel Iglesias, the former cultural funding coordinator who managed the grants program for five years, said that she and Bedoya had urged city administrators to issue grants in 2024 that were delayed, causing the \u003ca href=\"https://www.kqed.org/arts/13957786/oakland-art-and-soul-festival-canceled\">cancellation of events like the annual Art & Soul Festival\u003c/a>.\u003c/p>\n\u003cp>This year, Iglesias said, the Cultural Affairs Divison was given no access to general fund monies for grants. “We had just roughly $180,000 in hotel tax money that we gave out in \u003cem>tiny\u003c/em> grants,” Iglesias explained, adding that she and another staff member had as of last week raised roughly $600,000 from private foundations to backfill the money that the city rescinded for general operating grantees.\u003c/p>\n\u003cp>Oakland Symphony CEO Mieko Hatano, jazz musician and educator John Santos and Living Jazz executive director Lyz Luke joined those who spoke at the council meeting. Oakland Ballet’s artistic director Graham Lustig and Julie Baker, CEO of California Arts Advocates, are among the dozens of others who have urged the city to reinstate the Cultural Affairs Manager position.\u003c/p>\n\u003cfigure id=\"attachment_13978247\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raquel Iglesias (center) attends a rally outside of Oakland City Hall protesting the elimination of the Cultural Affairs Manager position from the city budget on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even those with no direct income from the arts or the nonprofit world spoke on Tuesday about the importance of art and cultural programs.\u003c/p>\n\u003cp>On the City Hall steps, the activist Minister King X held his phone to the loudspeaker microphone so that William “Will Bop” Edwards, currently incarcerated in Solano State Prison, could address the assembled crowd.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When I was young, we had places to go. We had things to do that would scare us away from trouble. And with those places that involve art and creativity, it would allow us to meet, learn, and understand our neighbors. So when we grew up, we were less likely to want to shoot and kill people that grew up with us, because we had a prior relationship with them,” Edwards said, before an automated prison announcement came over the phone line to say that the call was being monitored and recorded.\u003c/p>\n\u003cp>The group has vowed to keep protesting every week until the Oakland City Council reinstates the position, said Brooks, who referred to investing in art as a “public safety strategy” that provides revenue and jobs.\u003c/p>\n\u003cp>Rachel Sanders, a dancer and poet who moved to Oakland two years ago, said that in addition to the impact on her own practice, she was dismayed at the budget being pushed through without sufficient time for thorough review by the public, or even certain council members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This move just makes no sense, and it feels like a betrayal,” Sanders said. “And that’s personal, you know? So that’s why I’m here.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-artist-grants-sfac-2025-2026",
"title": "San Francisco Awards More Than $10 Million to Artists, Arts Orgs",
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"headTitle": "San Francisco Awards More Than $10 Million to Artists, Arts Orgs | KQED",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sfac\">San Francisco Arts Commission\u003c/a> (SFAC) on Tuesday announced a cumulative $10.4 million in \u003ca href=\"https://www.kqed.org/arts/tag/grants\">grants\u003c/a> to 145 artists and arts nonprofits and six cultural centers.\u003c/p>\n\u003cp>The grants include more than $7.5 million in funding for 98 individual artists and 47 arts nonprofit organizations to support performances, documentaries, exhibitions, sculpture, literature, workshops, albums, public events and more. \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FY25-SFAC-Grantees-All-Final.pdf\">A full list of grant recipients and their projects can be found here [PDF]\u003c/a>. \u003c/p>\n\u003cp>Nearly $3 million of the grant funding will be spread across six different cultural centers. Those include the African American Art and Culture Complex, the Ruth Williams Bayview Opera House, the Mission Cultural Center for Latino Arts, and SOMArts, along with three “virtual cultural centers”: the Asian Pacific Islander Cultural Center, the American Indian Cultural Center, and the Queer Cultural Center. \u003c/p>\n\u003cp>[aside postID='arts_13975661']The city received 533 grant applications, which were evaluated by 73 peer panelists between January and April of this year. The grants are funded by Proposition E, passed by voters in 2018, which mandates that 1.5% of San Francisco’s 14% hotel tax goes to fund arts and culture initiatives.\u003c/p>\n\u003cp>“Each grant awarded this cycle represents an investment in San Francisco’s vibrant cultural future. We are proud to support so many talented artists and organizations, especially for San Francisco artists whom nearly half are first-time grantees,” said Denise Pate, SFAC’s Director of Community Investments, referring to the grant category for individual artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The grants come as Mayor Daniel Lurie mounts a visible public comeback for San Francisco, utilizing its arts communities. Free downtown events with DJs and live music are now a regular occurrence, and Lurie has championed relaxed permit restrictions and the city’s \u003ca href=\"https://www.sf.gov/news-mayor-lurie-signs-legislation-creating-five-new-entertainment-zones-across-san-francisco-launches-castro-entertainment-zone\">new entertainment zones\u003c/a> as engines for economic recovery. Lurie also recently announced a restructuring to place SFAC, Grants for the Arts (GFTA), and the San Francisco Film Commission \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sfac-gfta-sffilm-to-unite-20352144.php\">under the same umbrella\u003c/a>. \u003c/p>\n\u003cp>[aside postID='arts_13974119']In a statement, Lurie said that “our arts community brings people from across the world to San Francisco — keeping our arts and cultural institutions strong and vibrant is critical to our economic recovery.” \u003c/p>\n\u003cp>In May, \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">the Trump administration canceled National Endowment of the Arts grants nationwide\u003c/a>, including grants for dozens of Bay Area artists and nonprofits. The month prior, the Trump administration \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">canceled millions of dollars in National Endowment of the Humanities grants\u003c/a>, which also affected many Bay Area artists. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in April, \u003ca href=\"https://www.kqed.org/arts/13974119/city-of-san-francisco-cancels-14-million-in-dream-keeper-initiative-funding\">the city of San Francisco officially canceled $14.4 million in Dream Keeper Initiative grants\u003c/a> to more than 30 San Francisco-based cultural organizations working in social services and the arts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sfac\">San Francisco Arts Commission\u003c/a> (SFAC) on Tuesday announced a cumulative $10.4 million in \u003ca href=\"https://www.kqed.org/arts/tag/grants\">grants\u003c/a> to 145 artists and arts nonprofits and six cultural centers.\u003c/p>\n\u003cp>The grants include more than $7.5 million in funding for 98 individual artists and 47 arts nonprofit organizations to support performances, documentaries, exhibitions, sculpture, literature, workshops, albums, public events and more. \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FY25-SFAC-Grantees-All-Final.pdf\">A full list of grant recipients and their projects can be found here [PDF]\u003c/a>. \u003c/p>\n\u003cp>Nearly $3 million of the grant funding will be spread across six different cultural centers. Those include the African American Art and Culture Complex, the Ruth Williams Bayview Opera House, the Mission Cultural Center for Latino Arts, and SOMArts, along with three “virtual cultural centers”: the Asian Pacific Islander Cultural Center, the American Indian Cultural Center, and the Queer Cultural Center. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The city received 533 grant applications, which were evaluated by 73 peer panelists between January and April of this year. The grants are funded by Proposition E, passed by voters in 2018, which mandates that 1.5% of San Francisco’s 14% hotel tax goes to fund arts and culture initiatives.\u003c/p>\n\u003cp>“Each grant awarded this cycle represents an investment in San Francisco’s vibrant cultural future. We are proud to support so many talented artists and organizations, especially for San Francisco artists whom nearly half are first-time grantees,” said Denise Pate, SFAC’s Director of Community Investments, referring to the grant category for individual artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The grants come as Mayor Daniel Lurie mounts a visible public comeback for San Francisco, utilizing its arts communities. Free downtown events with DJs and live music are now a regular occurrence, and Lurie has championed relaxed permit restrictions and the city’s \u003ca href=\"https://www.sf.gov/news-mayor-lurie-signs-legislation-creating-five-new-entertainment-zones-across-san-francisco-launches-castro-entertainment-zone\">new entertainment zones\u003c/a> as engines for economic recovery. Lurie also recently announced a restructuring to place SFAC, Grants for the Arts (GFTA), and the San Francisco Film Commission \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sfac-gfta-sffilm-to-unite-20352144.php\">under the same umbrella\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a statement, Lurie said that “our arts community brings people from across the world to San Francisco — keeping our arts and cultural institutions strong and vibrant is critical to our economic recovery.” \u003c/p>\n\u003cp>In May, \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">the Trump administration canceled National Endowment of the Arts grants nationwide\u003c/a>, including grants for dozens of Bay Area artists and nonprofits. The month prior, the Trump administration \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">canceled millions of dollars in National Endowment of the Humanities grants\u003c/a>, which also affected many Bay Area artists. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in April, \u003ca href=\"https://www.kqed.org/arts/13974119/city-of-san-francisco-cancels-14-million-in-dream-keeper-initiative-funding\">the city of San Francisco officially canceled $14.4 million in Dream Keeper Initiative grants\u003c/a> to more than 30 San Francisco-based cultural organizations working in social services and the arts.\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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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"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",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"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",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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