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"content": "\u003cp>As the federal government makes huge cuts to arts funding, local organizations like Balay Kreative are feeling the pressure from Washington, D.C. all the way down to the city level.\u003c/p>\n\u003cp>Last week, the San Francisco-based Filipino arts accelerator \u003ca href=\"https://balaykreative.org/stories-content/balay-kreative-is-pressing-pause\">announced a pause on its operations\u003c/a>.\u003c/p>\n\u003cp>Desi Danganan, executive director of Balay Kreative’s umbrella organization \u003ca href=\"https://www.kultivatelabs.org/\">Kultivate Labs\u003c/a>, explained in a post on the organization’s website that the decision was due to funding. Over the past two years, the organization has had to lay off staff and cut their budget by more than $500,000, while from 2024 to 2025, funding dropped by 80%, according to Danganan.\u003c/p>\n\u003cp>[aside postID='arts_13913947']“We can no longer operate as if it’s business as usual,” he wrote.\u003c/p>\n\u003cp>Located on Mission Street in the retail floor level of a city parking garage, where it receives free rent from SFMTA, \u003ca href=\"https://www.kqed.org/arts/13913947/balay-kreative-soma-pilipinas-filipino-heritage-district\">Balay Kreative provides pop-up studio space\u003c/a> to Filipino American artists, designers and small businesses in the SOMA Pilipinas Filipino Heritage District. It has also dispersed grants to individual artists. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kultivate Labs will work on repurposing the Balay Kreative space on Mission Street for Republika, an artisan marketplace and art gallery, which is fully funded, Danganan said.\u003c/p>\n\u003cfigure id=\"attachment_13972582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13972582 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg\" alt=\"An audience of people sit, gathered at an open studio at Balay Kreative in San Francisco. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-2048x1149.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An audience of people gather at an open studio at Balay Kreative in San Francisco. \u003ccite>(Courtesy of Balay Kreative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Danganan explained that future funding for Balay Kreative has been jeopardized by the NEA’s \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">cancellation of the Challenge America grant\u003c/a>, and its announcement to \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">no longer support organizations grounded in diversity, equity and inclusion\u003c/a>. In the \u003ca href=\"https://www.kqed.org/arts/13970297/nea-grants-list-of-sf-bay-area-organizations-receiving-grants-in-2025\">latest round of NEA grants\u003c/a>, Balay Kreative received $15,000 to support the Balay Kreative Growth Masterclass Series.\u003c/p>\n\u003cp>Over the phone Danganan called the NEA announcement “salt in the wound,” and illustrative of the federal government’s priorities as a whole. “They want to dismantle anything that is for marginalized communities,” Danganan said of the current administration. \u003c/p>\n\u003cp>[aside postID='arts_13971749']Locally, in San Francisco, he sees a systematic problem in which the city is promoting itself as an arts and culture hub but not providing enough resources.\u003c/p>\n\u003cp>“We were one of those organizations that they highlighted,” Danganan said of the city. He noted that Kultivate Labs has a few “arms,” which allows the organization to generate revenue for programs like Kapwa Gardens and Undiscovered SF. “We were the ones doing really well,” said Danganan, “and we’re still getting a 60% cut.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/grants-for-the-arts\">Grants for the Arts\u003c/a>, funded by a hotel tax, has seen reduced revenue in the wake of the COVID pandemic and a “doom loop” narrative about San Francisco, both of which have kept tourists away from the city. \u003c/p>\n\u003cp>[aside postID='arts_13970297']While the city has been \u003ca href=\"https://www.kqed.org/arts/13967182/svane-family-foundation-culture-forward-grant\">encouraging artists and organizations to move back downtown\u003c/a>, Danganan has seen several recent closures on his organization’s block in SoMa.\u003c/p>\n\u003cp>“There \u003cem>was\u003c/em> a restaurant next to us,” he said. “SF Pizza closed. The T-Mobile store on our block closed.” He adds to the list the upcoming closure of department store Bloomingdales, across the street from Balay Kreative, and a recently closed Starbucks at the end of the block (another Starbucks, directly across the street from it, remains open).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Are they going to have to bring in arts and culture from the outside,” Danganan said, “instead of incubating the arts and culture that we have here?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kultivate Labs will work on repurposing the Balay Kreative space on Mission Street for Republika, an artisan marketplace and art gallery, which is fully funded, Danganan said.\u003c/p>\n\u003cfigure id=\"attachment_13972582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13972582 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg\" alt=\"An audience of people sit, gathered at an open studio at Balay Kreative in San Francisco. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-2048x1149.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Balay-Open-Studios-27-1920x1078.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An audience of people gather at an open studio at Balay Kreative in San Francisco. \u003ccite>(Courtesy of Balay Kreative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Danganan explained that future funding for Balay Kreative has been jeopardized by the NEA’s \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">cancellation of the Challenge America grant\u003c/a>, and its announcement to \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">no longer support organizations grounded in diversity, equity and inclusion\u003c/a>. In the \u003ca href=\"https://www.kqed.org/arts/13970297/nea-grants-list-of-sf-bay-area-organizations-receiving-grants-in-2025\">latest round of NEA grants\u003c/a>, Balay Kreative received $15,000 to support the Balay Kreative Growth Masterclass Series.\u003c/p>\n\u003cp>Over the phone Danganan called the NEA announcement “salt in the wound,” and illustrative of the federal government’s priorities as a whole. “They want to dismantle anything that is for marginalized communities,” Danganan said of the current administration. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Locally, in San Francisco, he sees a systematic problem in which the city is promoting itself as an arts and culture hub but not providing enough resources.\u003c/p>\n\u003cp>“We were one of those organizations that they highlighted,” Danganan said of the city. He noted that Kultivate Labs has a few “arms,” which allows the organization to generate revenue for programs like Kapwa Gardens and Undiscovered SF. “We were the ones doing really well,” said Danganan, “and we’re still getting a 60% cut.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/grants-for-the-arts\">Grants for the Arts\u003c/a>, funded by a hotel tax, has seen reduced revenue in the wake of the COVID pandemic and a “doom loop” narrative about San Francisco, both of which have kept tourists away from the city. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the city has been \u003ca href=\"https://www.kqed.org/arts/13967182/svane-family-foundation-culture-forward-grant\">encouraging artists and organizations to move back downtown\u003c/a>, Danganan has seen several recent closures on his organization’s block in SoMa.\u003c/p>\n\u003cp>“There \u003cem>was\u003c/em> a restaurant next to us,” he said. “SF Pizza closed. The T-Mobile store on our block closed.” He adds to the list the upcoming closure of department store Bloomingdales, across the street from Balay Kreative, and a recently closed Starbucks at the end of the block (another Starbucks, directly across the street from it, remains open).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Are they going to have to bring in arts and culture from the outside,” Danganan said, “instead of incubating the arts and culture that we have here?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every year, \u003ca href=\"https://sfgfta.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Grants for the Arts\u003c/a> awards the most sought-after type of nonprofit funding to San Francisco arts organizations: unrestricted general operating support. This kind of money isn’t sexy or splashy, but it helps nonprofits keep the lights on, pay their staff and maintain public programming in one of the most expensive cities in the United States.\u003c/p>\n\u003cp>[aside postID='arts_13907929']Established by the city of San Francisco in 1961 and funded by hotel tax revenue, Grants for the Arts (GFTA) is a much-relied-upon funding source in the city’s arts nonprofit world. Its recipients range from the very large (the San Francisco Symphony, the Exploratorium) to the very small (SF Urban Film Fest, Western Neighborhoods Project). Since its inception, it has distributed nearly $400 million to hundreds of San Francisco arts nonprofits. In 2018, San Francisco voters \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" rel=\"noopener noreferrer\" target=\"_blank\">overwhelmingly supported its funding\u003c/a>.\u003c/p>\n\u003cp>But over the past few months, arts administrators across the city have become increasingly distressed by the significant delays they’ve experienced while trying to get the money they were promised—and by the confusing communications they’re getting from the city’s granting organization itself.\u003c/p>\n\u003ch2>‘Nobody’s gotten the money yet’\u003c/h2>\n\u003cp>The July 2021–June 2022 GFTA grantees include \u003ca href=\"https://sfgfta.org/wp-content/uploads/2021/09/FY22-Allocation-Index-Arts-for-Website.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">226 organizations\u003c/a> who were awarded amounts ranging from $10,000 to $450,000. (Instead of receiving that amount upfront, nonprofits spend against their grant amount and submit paperwork for reimbursement.) KQED reached out to 34 GFTA grantees for this story. Of the 20 nonprofits KQED was able to contact as of publication, five had not yet received grant agreements. Two nonprofits received their agreements in just the past three days. And only one of the nonprofits who had submitted the paperwork for reimbursements (some as long ago as November) had received any funds—six months into the grant cycle.\u003c/p>\n\u003cp>Based on his own reconnaissance, Barry Threw, executive director of Gray Area Foundation for the Arts, says, “Nobody’s gotten the money yet.” That’s a stark difference from years past. “Usually you’re able to invoice half of it the year of the announcement and then invoice the other half in the spring of the next year,” he explains. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11704700']Adding to nonprofits’ frustrations, GFTA has not yet released any information about their FY23 grant cycle, applications for which would normally be due in February 2022. Arts administrators emphasize this is not an easy application process. The packet of required materials can run to dozens of pages, including a lengthy narrative, a budget snapshot, materials relating to board membership, a recent financial review, multiple tax forms, a list of previous and planned events, brochures and press clippings. \u003c/p>\n\u003cp>Last year, GFTA even teamed up with Intersection for the Arts to offer a four-part workshop and lab series to coach nonprofits through the process and make the grant more accessible to first-time applicants. But if last year’s GFTA watchword was “equity,” this year’s seems to be “TBD.”\u003c/p>\n\u003ch2>‘The process has become a big mystery’\u003c/h2>\n\u003cp>Seeking information on the status of their current grant cycle, KQED received an auto-reply from GFTA that paints a picture of a severely understaffed organization. The email explains that GFTA is “down to a team of two,” and that two employees from the San Francisco Arts Commission have been brought on to help with the workload. In a bullet-point list of what appear to be frequent email topics, the auto-reply states that the release date for the next grant cycle “has not been identified.”\u003c/p>\n\u003cp>A spokesperson from the Office of the City Administrator, which oversees GFTA, provided KQED with a statement about the delays: “Many city departments are experiencing staffing impacts currently as the result of the pandemic. It has and will continue to be a priority to get grant funding and contracts out to all of our city service providers and the Arts Commission and Grants for the Arts staff are working together to do just that.”\u003c/p>\n\u003cp>GFTA grantees who spoke to KQED say it’s been difficult to get in contact with anyone at the organization to even check on the status of their grant agreements. KQED’s multiple calls to the office went unanswered.\u003c/p>\n\u003cp>Arts administrators say that in past years, even during the pandemic, the granting process worked fairly smoothly and on schedule; staff were accessible and supportive of the organizations GFTA funded. But they began to notice a string of departures from GFTA after Director Vallie Brown was \u003ca href=\"https://www.kqed.org/arts/13892925/vallie-brown-appointed-to-lead-sfs-main-nonprofit-arts-funding-agency\" rel=\"noopener noreferrer\" target=\"_blank\">appointed to the position\u003c/a> by Mayor London Breed in February 2021. All four staff members who worked at GFTA prior to Brown’s arrival have since retired or left, and only one new employee has joined. \u003c/p>\n\u003cfigure id=\"attachment_13892960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/VallieBrown.jpg\" alt=\"A woman in a blue patterned shirt poses smiling\" width=\"800\" height=\"619\" class=\"size-full wp-image-13892960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown-768x594.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vallie Brown was appointed as director of Grants for the Arts by Mayor London Breed. \u003ccite>(Andrew Rettmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps as a result of these staffing changes, current GFTA grantees have been asked to re-submit their information as many as four or five times in recent months, sowing confusion and anxiety in an already strained sector. \u003c/p>\n\u003cp>Jeff Thomas, executive director of San Francisco Center for the Book, remembers when GFTA had a staff of five. “The general feeling is that a lot of really good people have left for whatever reason, that it’s now vastly understaffed in order to be able to do all the good things that they had been doing in the past,” he says. “And that the process has become a big mystery that is really sort of stressing people out.”\u003c/p>\n\u003ch2>‘What if I lose my funding?’\u003c/h2>\n\u003cp>After months of being asked for and resubmitting their information, GFTA grantees received a Nov. 11 email from Brown. The subject line read “URGENT”: \u003c/p>\n\u003cblockquote>\u003cp>I appreciate how the lion’s share of the organizations we’re privileged to support have diligently worked to meet the requirements for our FY22 General Operating Support grant. However, many of you continue to have outstanding documentation, which impedes my staff’s (and those who are helping us from the SFAC) ability to generate your contracts. … \u003c/p>\n\u003cp>If GFTA does not have all of your documents by Wednesday, November 17, 2021, we cannot guarantee your contract will be executed in a timely manner. The onus is on you to make sure you are in compliance with my department and the City, and I hope you’re able to be responsive to the emails that my staff has been distributing for several weeks.\u003c/p>\u003c/blockquote>\n\u003cp>Even administrators who knew all their materials were in good standing suddenly felt doubt. The mass email, says Gray Area’s Threw, made it unclear who was actually missing information. “Do you have our stuff or not?” he wondered. \u003c/p>\n\u003cp>“It just got to be very frustrating where people were thinking they were done, and then all of a sudden, everybody was thrown off,” says Thomas. “What if I can’t prove that I sent it in? And what if I lose my funding?” he remembers asking. “I mean, it’s a major source of funding for a lot of small organizations.”\u003c/p>\n\u003cp>Jennifer Walsh, executive director of ABADÁ-Capoeira San Francisco, says they still don’t have a grant agreement despite having submitted all the required documents. “We did receive an email explaining they are working hard to get agreements out so they can begin processing reimbursements,” Walsh wrote via email, emphasizing that GFTA is one of the organization’s primary funders and they are deeply grateful for the support. While hopeful that GFTA will get agreements and payments out to people as soon as possible, Walsh wrote, “Funding delays do put a strain on our operating budget, since we use funding for fixed costs, including rent.”\u003c/p>\n\u003cp>Many of the arts administrators KQED reached out to for this article would not go on the record about their experiences. \u003c/p>\n\u003cp>“The pandemic is still going on,” says Thomas of San Francisco Center for the Book. “There’s no more Paycheck Protection Program, there’s no more of this other funding. No one wants to speak out against an organization where they may be getting some substantial funding.”\u003c/p>\n\u003cp>“I think that GFTA has been such an amazing organization,” Thomas continues. “There’s no reason it couldn’t come back and be that again, but it just feels like it’s going through a rough patch.” \u003c/p>\n\u003cp>A rough patch, unfortunately, that affects the bottom line of 226 San Francisco arts nonprofits.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>This story includes reporting by Julian Sorapuru.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year, \u003ca href=\"https://sfgfta.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Grants for the Arts\u003c/a> awards the most sought-after type of nonprofit funding to San Francisco arts organizations: unrestricted general operating support. This kind of money isn’t sexy or splashy, but it helps nonprofits keep the lights on, pay their staff and maintain public programming in one of the most expensive cities in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Established by the city of San Francisco in 1961 and funded by hotel tax revenue, Grants for the Arts (GFTA) is a much-relied-upon funding source in the city’s arts nonprofit world. Its recipients range from the very large (the San Francisco Symphony, the Exploratorium) to the very small (SF Urban Film Fest, Western Neighborhoods Project). Since its inception, it has distributed nearly $400 million to hundreds of San Francisco arts nonprofits. In 2018, San Francisco voters \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" rel=\"noopener noreferrer\" target=\"_blank\">overwhelmingly supported its funding\u003c/a>.\u003c/p>\n\u003cp>But over the past few months, arts administrators across the city have become increasingly distressed by the significant delays they’ve experienced while trying to get the money they were promised—and by the confusing communications they’re getting from the city’s granting organization itself.\u003c/p>\n\u003ch2>‘Nobody’s gotten the money yet’\u003c/h2>\n\u003cp>The July 2021–June 2022 GFTA grantees include \u003ca href=\"https://sfgfta.org/wp-content/uploads/2021/09/FY22-Allocation-Index-Arts-for-Website.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">226 organizations\u003c/a> who were awarded amounts ranging from $10,000 to $450,000. (Instead of receiving that amount upfront, nonprofits spend against their grant amount and submit paperwork for reimbursement.) KQED reached out to 34 GFTA grantees for this story. Of the 20 nonprofits KQED was able to contact as of publication, five had not yet received grant agreements. Two nonprofits received their agreements in just the past three days. And only one of the nonprofits who had submitted the paperwork for reimbursements (some as long ago as November) had received any funds—six months into the grant cycle.\u003c/p>\n\u003cp>Based on his own reconnaissance, Barry Threw, executive director of Gray Area Foundation for the Arts, says, “Nobody’s gotten the money yet.” That’s a stark difference from years past. “Usually you’re able to invoice half of it the year of the announcement and then invoice the other half in the spring of the next year,” he explains. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Adding to nonprofits’ frustrations, GFTA has not yet released any information about their FY23 grant cycle, applications for which would normally be due in February 2022. Arts administrators emphasize this is not an easy application process. The packet of required materials can run to dozens of pages, including a lengthy narrative, a budget snapshot, materials relating to board membership, a recent financial review, multiple tax forms, a list of previous and planned events, brochures and press clippings. \u003c/p>\n\u003cp>Last year, GFTA even teamed up with Intersection for the Arts to offer a four-part workshop and lab series to coach nonprofits through the process and make the grant more accessible to first-time applicants. But if last year’s GFTA watchword was “equity,” this year’s seems to be “TBD.”\u003c/p>\n\u003ch2>‘The process has become a big mystery’\u003c/h2>\n\u003cp>Seeking information on the status of their current grant cycle, KQED received an auto-reply from GFTA that paints a picture of a severely understaffed organization. The email explains that GFTA is “down to a team of two,” and that two employees from the San Francisco Arts Commission have been brought on to help with the workload. In a bullet-point list of what appear to be frequent email topics, the auto-reply states that the release date for the next grant cycle “has not been identified.”\u003c/p>\n\u003cp>A spokesperson from the Office of the City Administrator, which oversees GFTA, provided KQED with a statement about the delays: “Many city departments are experiencing staffing impacts currently as the result of the pandemic. It has and will continue to be a priority to get grant funding and contracts out to all of our city service providers and the Arts Commission and Grants for the Arts staff are working together to do just that.”\u003c/p>\n\u003cp>GFTA grantees who spoke to KQED say it’s been difficult to get in contact with anyone at the organization to even check on the status of their grant agreements. KQED’s multiple calls to the office went unanswered.\u003c/p>\n\u003cp>Arts administrators say that in past years, even during the pandemic, the granting process worked fairly smoothly and on schedule; staff were accessible and supportive of the organizations GFTA funded. But they began to notice a string of departures from GFTA after Director Vallie Brown was \u003ca href=\"https://www.kqed.org/arts/13892925/vallie-brown-appointed-to-lead-sfs-main-nonprofit-arts-funding-agency\" rel=\"noopener noreferrer\" target=\"_blank\">appointed to the position\u003c/a> by Mayor London Breed in February 2021. All four staff members who worked at GFTA prior to Brown’s arrival have since retired or left, and only one new employee has joined. \u003c/p>\n\u003cfigure id=\"attachment_13892960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/VallieBrown.jpg\" alt=\"A woman in a blue patterned shirt poses smiling\" width=\"800\" height=\"619\" class=\"size-full wp-image-13892960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/VallieBrown-768x594.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vallie Brown was appointed as director of Grants for the Arts by Mayor London Breed. \u003ccite>(Andrew Rettmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps as a result of these staffing changes, current GFTA grantees have been asked to re-submit their information as many as four or five times in recent months, sowing confusion and anxiety in an already strained sector. \u003c/p>\n\u003cp>Jeff Thomas, executive director of San Francisco Center for the Book, remembers when GFTA had a staff of five. “The general feeling is that a lot of really good people have left for whatever reason, that it’s now vastly understaffed in order to be able to do all the good things that they had been doing in the past,” he says. “And that the process has become a big mystery that is really sort of stressing people out.”\u003c/p>\n\u003ch2>‘What if I lose my funding?’\u003c/h2>\n\u003cp>After months of being asked for and resubmitting their information, GFTA grantees received a Nov. 11 email from Brown. The subject line read “URGENT”: \u003c/p>\n\u003cblockquote>\u003cp>I appreciate how the lion’s share of the organizations we’re privileged to support have diligently worked to meet the requirements for our FY22 General Operating Support grant. However, many of you continue to have outstanding documentation, which impedes my staff’s (and those who are helping us from the SFAC) ability to generate your contracts. … \u003c/p>\n\u003cp>If GFTA does not have all of your documents by Wednesday, November 17, 2021, we cannot guarantee your contract will be executed in a timely manner. The onus is on you to make sure you are in compliance with my department and the City, and I hope you’re able to be responsive to the emails that my staff has been distributing for several weeks.\u003c/p>\u003c/blockquote>\n\u003cp>Even administrators who knew all their materials were in good standing suddenly felt doubt. The mass email, says Gray Area’s Threw, made it unclear who was actually missing information. “Do you have our stuff or not?” he wondered. \u003c/p>\n\u003cp>“It just got to be very frustrating where people were thinking they were done, and then all of a sudden, everybody was thrown off,” says Thomas. “What if I can’t prove that I sent it in? And what if I lose my funding?” he remembers asking. “I mean, it’s a major source of funding for a lot of small organizations.”\u003c/p>\n\u003cp>Jennifer Walsh, executive director of ABADÁ-Capoeira San Francisco, says they still don’t have a grant agreement despite having submitted all the required documents. “We did receive an email explaining they are working hard to get agreements out so they can begin processing reimbursements,” Walsh wrote via email, emphasizing that GFTA is one of the organization’s primary funders and they are deeply grateful for the support. While hopeful that GFTA will get agreements and payments out to people as soon as possible, Walsh wrote, “Funding delays do put a strain on our operating budget, since we use funding for fixed costs, including rent.”\u003c/p>\n\u003cp>Many of the arts administrators KQED reached out to for this article would not go on the record about their experiences. \u003c/p>\n\u003cp>“The pandemic is still going on,” says Thomas of San Francisco Center for the Book. “There’s no more Paycheck Protection Program, there’s no more of this other funding. No one wants to speak out against an organization where they may be getting some substantial funding.”\u003c/p>\n\u003cp>“I think that GFTA has been such an amazing organization,” Thomas continues. “There’s no reason it couldn’t come back and be that again, but it just feels like it’s going through a rough patch.” \u003c/p>\n\u003cp>A rough patch, unfortunately, that affects the bottom line of 226 San Francisco arts nonprofits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Throughout the first year of the pandemic, arts organizations emphasized just how crucial they are to local culture and economy in pleas for government help. After all, a night out at a concert, gallery or play often leads to other spending on food, drinks and retail, and brings the kinds of foot traffic that turns neighborhoods into destinations. And deeper than that, art spaces, music venues, theaters and cultural centers can foster a sense of belonging and strengthen their communities.\u003c/p>\n\u003cp>To support San Francisco’s recovery from pandemic shutdowns, Mayor London Breed announced on Monday $12 million dollars in funding for arts groups. Doled out in amounts ranging from $9,000 to $450,000, the new round of \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> supports large institutions such as the San Francisco Symphony and San Francisco Museum of Modern Art, as well as a long list of smaller organizations. Among those are after-school program \u003ca href=\"https://www.kqed.org/arts/13865613/sealed-for-10-years-an-excelsior-butcher-shop-becomes-a-vibrant-teen-art-space\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Art Exchange\u003c/a>, transgender dance company \u003ca href=\"https://freshmeatproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Productions\u003c/a>, Latinx arts and community space \u003ca href=\"http://www.galeriadelaraza.org/eng/about/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de la Raza\u003c/a> and Filipino American theater company \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bindlestiff Studio\u003c/a>. There are \u003ca href=\"https://sfgfta.org/wp-content/uploads/2021/09/FY-22-Funding-Amounts.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">250 recipients in total\u003c/a>. [aside postid='arts_13902006']\u003c/p>\n\u003cp>Vallie Brown, who took the helm of Grants for the Arts in February of this year, says grassroots organizations that support trans people and people of color were prioritized because of how they stepped up to serve vulnerable San Franciscans during the crisis. “We felt they had a priority because they’re so connected into communities,” she explains. “I think we realized that during COVID because a lot of these arts organizations and cultural centers became hubs for communities, whether that was testing, vaccinations, food banks. … We realized they are really boots on the ground doing a lot of this work.”\u003c/p>\n\u003cp>Arts grants in San Francisco have been funded by the hotel tax since 2018, but because of a drop-off in tourism during the pandemic, Breed allocated money from the general fund to support Grants for the Arts, the mayor’s office announced in Monday’s press release.\u003c/p>\n\u003cp>Still, the program had about $2 million less to work with than in previous years. That meant that some larger organizations, including SF Opera and American Conservatory Theater, got less money this year so that smaller groups wouldn’t have to take losses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Because of their large budget, we knew they had the resources to probably fundraise for the rest of that money,” says Brown, noting that this year Grants for the Arts used a new scoring system that accounted for diversity, neighborhood partnerships and hiring of local artists.\u003c/p>\n\u003cp>Out of the $12 million fund, about $1 million went to supporting parades and festivals, including San Francisco Pride, the Juneteenth Festival and the Russian Festival. Grants for the Arts kept funding amounts for each of those recipients the same as last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Parades and festivals in the city are really community-driven, and they’re usually run by one or two people or a small committee,” says Brown. “They would not be able to survive a cut.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout the first year of the pandemic, arts organizations emphasized just how crucial they are to local culture and economy in pleas for government help. After all, a night out at a concert, gallery or play often leads to other spending on food, drinks and retail, and brings the kinds of foot traffic that turns neighborhoods into destinations. And deeper than that, art spaces, music venues, theaters and cultural centers can foster a sense of belonging and strengthen their communities.\u003c/p>\n\u003cp>To support San Francisco’s recovery from pandemic shutdowns, Mayor London Breed announced on Monday $12 million dollars in funding for arts groups. Doled out in amounts ranging from $9,000 to $450,000, the new round of \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> supports large institutions such as the San Francisco Symphony and San Francisco Museum of Modern Art, as well as a long list of smaller organizations. Among those are after-school program \u003ca href=\"https://www.kqed.org/arts/13865613/sealed-for-10-years-an-excelsior-butcher-shop-becomes-a-vibrant-teen-art-space\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Art Exchange\u003c/a>, transgender dance company \u003ca href=\"https://freshmeatproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Productions\u003c/a>, Latinx arts and community space \u003ca href=\"http://www.galeriadelaraza.org/eng/about/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de la Raza\u003c/a> and Filipino American theater company \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bindlestiff Studio\u003c/a>. There are \u003ca href=\"https://sfgfta.org/wp-content/uploads/2021/09/FY-22-Funding-Amounts.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">250 recipients in total\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vallie Brown, who took the helm of Grants for the Arts in February of this year, says grassroots organizations that support trans people and people of color were prioritized because of how they stepped up to serve vulnerable San Franciscans during the crisis. “We felt they had a priority because they’re so connected into communities,” she explains. “I think we realized that during COVID because a lot of these arts organizations and cultural centers became hubs for communities, whether that was testing, vaccinations, food banks. … We realized they are really boots on the ground doing a lot of this work.”\u003c/p>\n\u003cp>Arts grants in San Francisco have been funded by the hotel tax since 2018, but because of a drop-off in tourism during the pandemic, Breed allocated money from the general fund to support Grants for the Arts, the mayor’s office announced in Monday’s press release.\u003c/p>\n\u003cp>Still, the program had about $2 million less to work with than in previous years. That meant that some larger organizations, including SF Opera and American Conservatory Theater, got less money this year so that smaller groups wouldn’t have to take losses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Because of their large budget, we knew they had the resources to probably fundraise for the rest of that money,” says Brown, noting that this year Grants for the Arts used a new scoring system that accounted for diversity, neighborhood partnerships and hiring of local artists.\u003c/p>\n\u003cp>Out of the $12 million fund, about $1 million went to supporting parades and festivals, including San Francisco Pride, the Juneteenth Festival and the Russian Festival. Grants for the Arts kept funding amounts for each of those recipients the same as last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Parades and festivals in the city are really community-driven, and they’re usually run by one or two people or a small committee,” says Brown. “They would not be able to survive a cut.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed and City Administrator Carmen Chu announced the appointment Thursday of Vallie Brown to the role of director of its main agency for nonprofit arts and culture funding, \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Brown comes to the job as a strong ally of Mayor Breed’s.\u003c/p>\n\u003cp>The two women go back a long way, first meeting in the early 2000s when Breed ran San Francisco’s \u003ca href=\"https://www.sfartscommission.org/profile-submissions/african-american-art-and-culture-complex\" target=\"_blank\" rel=\"noopener noreferrer\">African American Arts and Culture Complex\u003c/a> and Brown was a community activist in the Haight. When Breed was a city supervisor, Brown was one of her aides. When Breed became Mayor in 2018, Brown took over the District 5 supervisor seat, which she lost in 2019 to a progressive, Dean Preston.\u003c/p>\n\u003cp>A former sculptor who specialized in metalwork, Brown said she won the job because of her many years in City Hall and her background fighting for equity for arts programming in underserved neighborhoods.\u003c/p>\n\u003cp>“I think my experience speaks for itself,” Brown told KQED in a video interview shortly after her appointment was announced. “As we know, the city administrator and the mayor are your bosses, and so they have to feel like they can put someone in there that they can trust and that also can push their agenda. And I know Mayor Breed has been very vocal about equity as her agenda.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Vallie Brown is a dedicated public servant, with a passion for community and the arts in San Francisco,” said Mayor Breed, in a statement. “Her extensive experience and steady hand will serve San Francisco’s arts community well as we navigate the challenges created by COVID-19 and work to recover as a city.”\u003c/p>\n\u003cp>Brown succeeds interim director Jason Blackwell in her new position with Grants for the Arts. Brown said Blackwell will return to his role as associate director as soon as she begins her new job, which she expects to do as early as next week.\u003c/p>\n\u003cp>Grants for the Arts, which has been around for 60 years, provided $12.9 million in general operating support grants in 2020, and increased funding for small- and medium-sized arts and culture groups by 28% over the previous year.\u003c/p>\n\u003cp>“Vallie Brown is a new woman leader in the arts who knows how to work within the political system of the city and the budget of the city,” said longtime former director of Grants for the Arts, Kary Schulman, in a phone interview. “In these difficult budget times, the big task for Brown will be to secure the revenue stream for the arts—the hotel tax—because hotels have been struggling during the pandemic.”\u003c/p>\n\u003cp>(Schulman referred to the passing of \u003ca href=\"https://sfelections.sfgov.org/sites/default/files/Documents/Voting/2018/N18_VIP_EN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Proposition E\u003c/a> in 2018, which dedicates 1.5% of the base hotel tax—a 14% tax levied on hotel stays in the city—to support arts and culture programs in San Francisco. More about that \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>Brown said she plans to continue to focus on equity for community arts groups in her new role, especially since so many of them have struggled to survive in recent years—not just because of the COVID-19 pandemic, but also because of the high cost of living in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When you have a festival that is getting $10,000 or $15,000 from the city to put on their event, and you think, ‘OK, we’re going to cut them 10%,’ that could actually completely make it where they can’t put it on,” said Brown. “So we really have to look at equity first. We have to collaborate with the community arts. And we have to listen to them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed and City Administrator Carmen Chu announced the appointment Thursday of Vallie Brown to the role of director of its main agency for nonprofit arts and culture funding, \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Brown comes to the job as a strong ally of Mayor Breed’s.\u003c/p>\n\u003cp>The two women go back a long way, first meeting in the early 2000s when Breed ran San Francisco’s \u003ca href=\"https://www.sfartscommission.org/profile-submissions/african-american-art-and-culture-complex\" target=\"_blank\" rel=\"noopener noreferrer\">African American Arts and Culture Complex\u003c/a> and Brown was a community activist in the Haight. When Breed was a city supervisor, Brown was one of her aides. When Breed became Mayor in 2018, Brown took over the District 5 supervisor seat, which she lost in 2019 to a progressive, Dean Preston.\u003c/p>\n\u003cp>A former sculptor who specialized in metalwork, Brown said she won the job because of her many years in City Hall and her background fighting for equity for arts programming in underserved neighborhoods.\u003c/p>\n\u003cp>“I think my experience speaks for itself,” Brown told KQED in a video interview shortly after her appointment was announced. “As we know, the city administrator and the mayor are your bosses, and so they have to feel like they can put someone in there that they can trust and that also can push their agenda. And I know Mayor Breed has been very vocal about equity as her agenda.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Vallie Brown is a dedicated public servant, with a passion for community and the arts in San Francisco,” said Mayor Breed, in a statement. “Her extensive experience and steady hand will serve San Francisco’s arts community well as we navigate the challenges created by COVID-19 and work to recover as a city.”\u003c/p>\n\u003cp>Brown succeeds interim director Jason Blackwell in her new position with Grants for the Arts. Brown said Blackwell will return to his role as associate director as soon as she begins her new job, which she expects to do as early as next week.\u003c/p>\n\u003cp>Grants for the Arts, which has been around for 60 years, provided $12.9 million in general operating support grants in 2020, and increased funding for small- and medium-sized arts and culture groups by 28% over the previous year.\u003c/p>\n\u003cp>“Vallie Brown is a new woman leader in the arts who knows how to work within the political system of the city and the budget of the city,” said longtime former director of Grants for the Arts, Kary Schulman, in a phone interview. “In these difficult budget times, the big task for Brown will be to secure the revenue stream for the arts—the hotel tax—because hotels have been struggling during the pandemic.”\u003c/p>\n\u003cp>(Schulman referred to the passing of \u003ca href=\"https://sfelections.sfgov.org/sites/default/files/Documents/Voting/2018/N18_VIP_EN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Proposition E\u003c/a> in 2018, which dedicates 1.5% of the base hotel tax—a 14% tax levied on hotel stays in the city—to support arts and culture programs in San Francisco. More about that \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>Brown said she plans to continue to focus on equity for community arts groups in her new role, especially since so many of them have struggled to survive in recent years—not just because of the COVID-19 pandemic, but also because of the high cost of living in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When you have a festival that is getting $10,000 or $15,000 from the city to put on their event, and you think, ‘OK, we’re going to cut them 10%,’ that could actually completely make it where they can’t put it on,” said Brown. “So we really have to look at equity first. We have to collaborate with the community arts. And we have to listen to them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations",
"headTitle": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations | KQED",
"content": "\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Obscure Court Ruling May Mean More Funding for SF Arts Orgs",
"headTitle": "Obscure Court Ruling May Mean More Funding for SF Arts Orgs | KQED",
"content": "\u003cp>On paper, San Francisco looks like a great arts town. Several recent studies show that\u003ca href=\"https://www.tbf.org/~/media/TBFOrg/Files/Reports/Arts%20Report_Jan%207%202016.pdf\"> San Francisco spends more per capita on arts programs than almost any other U.S. city\u003c/a>. And a \u003ca href=\"http://heliconcollab.net/wp-content/uploads/2017/08/NotJustMoney_Full_Report_July2017.pdf\">study\u003c/a> released this summer by the Helicon Foundation encourages cities to look to San Francisco as a model for how to fund small and culturally diverse arts groups.\u003c/p>\n\u003cp>But the city’s status might be slipping.\u003c/p>\n\u003cp>“We were really sort of a beacon,” says Kary Schulman, director of San Francisco Grants for the Arts, the city’s main cultural funding program. She says other city officials used to call and ask, “‘how do you do it?'” Now, she says those calls are more rare.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/09/ArtBallotWirtschafter.mp3\" /]\u003c/p>\n\u003cp>Funding for San Francisco’s arts programs dropped sharply after the recession. Grants for the Arts still hasn’t recovered to pre-recession levels.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while arts spending overall has increased under the watch of Mayor Ed Lee, advocates worry that the allotment isn’t stable. In 2013, the Board of Supervisors removed a provision that guaranteed a portion of San Francisco’s hotel tax to cultural causes.\u003c/p>\n\u003cp>Meanwhile, artists are struggling to stay in the city.\u003c/p>\n\u003cp>A 2015 San Francisco Arts Commission \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_FINAL.pdf\">survey\u003c/a> found hundreds of artists who had recently been displaced, or were facing displacement, from their homes or workspaces.\u003c/p>\n\u003cp>[contextly_sidebar id=”ZpCpz2GufOtiKydpUCPYpgeWwVSM1AkU”]\u003c/p>\n\u003cp>Nicole Klaymoon, director of \u003ca href=\"http://www.embodimentproject.org/about/company/\">Embodiment Project\u003c/a>, a street dance theater company, says she rehearses with her dancers five hours every morning, and then goes to teach at four different schools and dance studios to make rent.\u003c/p>\n\u003cp>“I’m hustling,” says Klaymoon.\u003c/p>\n\u003cfigure id=\"attachment_13809546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13809546 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers with Embodiment Project performing at the Yerba Buena Center for the Arts. Embodiment Project received a grant from the San Francisco Arts Commission this year. \u003ccite>(David Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A failed ballot measure\u003c/h2>\n\u003cp>Measure S, a ballot initiative to secure more funding for arts programs, failed in last year’s election. The measure would have guaranteed that a portion of San Francisco’s hotel tax again be committed to arts agencies. The initiative also included funding to address family homelessness. On election day, the measure fell just short of the required two-thirds majority.\u003c/p>\n\u003cp>Jonathan Moscone, Chief of Civic Engagement at the \u003ca href=\"https://www.ybca.org/\">Yerba Buena Center for the Arts\u003c/a> and one of the authors of Measure S, looks on the bright side.\u003c/p>\n\u003cp>“With 64% of the vote, we really proved that the vast majority of San Franciscans believe in this,” says Moscone. “Whatever we do with that, we have that at our backs.”\u003c/p>\n\u003cp>The coalition that tried to pass the measure is now working on new strategies to get more arts funding from the city. In San Francisco, 78% of public money for the arts comes from the city government, according to a \u003ca href=\"https://www.tbf.org/~/media/TBFOrg/Files/Reports/Arts%20Report_Jan%207%202016.pdf\">2016 study\u003c/a> by the research group TDC.\u003c/p>\n\u003cp>Moscone says one plan of action is to ask supervisors and potential mayoral candidates to develop an arts policy as part of their platforms.\u003c/p>\n\u003cp>“We are talking to everybody to make sure we’re in the right rooms,” says Moscone. “It’s better to be in the room making the decisions, than to be outside of the room, hearing the decisions.”\u003c/p>\n\u003cfigure id=\"attachment_13809567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809567\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Moscone at San Francisco Arts Advocacy Day in 2017, which he says gathered a much larger crowd than years before. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Try again next year?\u003c/h2>\n\u003cp>Another tactic is to go back to voters. If advocates want to secure guaranteed funding through the hotel tax, state law requires that they pass a ballot initiative like Measure S.\u003c/p>\n\u003cp>The big decision is if, and when, to mount such a campaign. Now, thanks to an obscure court ruling, arts advocates may decide to put forward a new ballot initiative as soon as the next election in June 2018.\u003c/p>\n\u003cp>In August, the state supreme court \u003ca href=\"http://www.courts.ca.gov/opinions/documents/S234148A.PDF\">ruled \u003c/a>that local tax initiatives placed by citizens are in a different category than those proposed by government bodies. The ruling’s outcome is still uncertain, but it could mean that voters could pass a local tax measure with a simple majority of votes, rather than two-thirds.\u003c/p>\n\u003cp>In San Francisco, City Attorney Dennis Herrera is responsible for interpreting the decision. He has yet to make a public statement on the subject, but arts advocates are fired up about the possibility that a future ballot initiative could pass more easily.\u003c/p>\n\u003cp>Reaching 50 percent next time “seems like it’s very doable,” says Vinay Patel, executive director of the \u003ca href=\"http://www.apiculturalcenter.org/\">Asian Pacific Islander Cultural Center\u003c/a>.\u003c/p>\n\u003cp>Patel says the first step of a new ballot proposition campaign is to find out if the arts community is ready to mobilize again. He says that thanks to Measure S, artists now have a better understanding of the political process.\u003c/p>\n\u003cp>“I’ve talked to people in my community about this, and they’re all very excited,” says Patel. And this time, “they already know what it takes.”\u003c/p>\n\u003cp>Moscone says the arts coalition is carefully considering the timing of another ballot run.\u003c/p>\n\u003cp>“You want to make the right move,” says Moscone. “You don’t want to just keep going after a ballot just to go after it — you want to win.”\u003c/p>\n\u003cp>Because of the time it takes to raise money and gather signatures, Moscone says the group needs to decide in the coming weeks whether to run on the June 2018 ballot.\u003c/p>\n\u003cp>“If indeed we were to go back to a ballot in June or November of next year,” says Moscone, “it would require immediate and swift action.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"title": "Obscure Court Ruling May Mean More Funding for SF Arts Orgs | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On paper, San Francisco looks like a great arts town. Several recent studies show that\u003ca href=\"https://www.tbf.org/~/media/TBFOrg/Files/Reports/Arts%20Report_Jan%207%202016.pdf\"> San Francisco spends more per capita on arts programs than almost any other U.S. city\u003c/a>. And a \u003ca href=\"http://heliconcollab.net/wp-content/uploads/2017/08/NotJustMoney_Full_Report_July2017.pdf\">study\u003c/a> released this summer by the Helicon Foundation encourages cities to look to San Francisco as a model for how to fund small and culturally diverse arts groups.\u003c/p>\n\u003cp>But the city’s status might be slipping.\u003c/p>\n\u003cp>“We were really sort of a beacon,” says Kary Schulman, director of San Francisco Grants for the Arts, the city’s main cultural funding program. She says other city officials used to call and ask, “‘how do you do it?'” Now, she says those calls are more rare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Funding for San Francisco’s arts programs dropped sharply after the recession. Grants for the Arts still hasn’t recovered to pre-recession levels.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while arts spending overall has increased under the watch of Mayor Ed Lee, advocates worry that the allotment isn’t stable. In 2013, the Board of Supervisors removed a provision that guaranteed a portion of San Francisco’s hotel tax to cultural causes.\u003c/p>\n\u003cp>Meanwhile, artists are struggling to stay in the city.\u003c/p>\n\u003cp>A 2015 San Francisco Arts Commission \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_FINAL.pdf\">survey\u003c/a> found hundreds of artists who had recently been displaced, or were facing displacement, from their homes or workspaces.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nicole Klaymoon, director of \u003ca href=\"http://www.embodimentproject.org/about/company/\">Embodiment Project\u003c/a>, a street dance theater company, says she rehearses with her dancers five hours every morning, and then goes to teach at four different schools and dance studios to make rent.\u003c/p>\n\u003cp>“I’m hustling,” says Klaymoon.\u003c/p>\n\u003cfigure id=\"attachment_13809546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13809546 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/20170914_3_0634_EmbodimentProject-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers with Embodiment Project performing at the Yerba Buena Center for the Arts. Embodiment Project received a grant from the San Francisco Arts Commission this year. \u003ccite>(David Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A failed ballot measure\u003c/h2>\n\u003cp>Measure S, a ballot initiative to secure more funding for arts programs, failed in last year’s election. The measure would have guaranteed that a portion of San Francisco’s hotel tax again be committed to arts agencies. The initiative also included funding to address family homelessness. On election day, the measure fell just short of the required two-thirds majority.\u003c/p>\n\u003cp>Jonathan Moscone, Chief of Civic Engagement at the \u003ca href=\"https://www.ybca.org/\">Yerba Buena Center for the Arts\u003c/a> and one of the authors of Measure S, looks on the bright side.\u003c/p>\n\u003cp>“With 64% of the vote, we really proved that the vast majority of San Franciscans believe in this,” says Moscone. “Whatever we do with that, we have that at our backs.”\u003c/p>\n\u003cp>The coalition that tried to pass the measure is now working on new strategies to get more arts funding from the city. In San Francisco, 78% of public money for the arts comes from the city government, according to a \u003ca href=\"https://www.tbf.org/~/media/TBFOrg/Files/Reports/Arts%20Report_Jan%207%202016.pdf\">2016 study\u003c/a> by the research group TDC.\u003c/p>\n\u003cp>Moscone says one plan of action is to ask supervisors and potential mayoral candidates to develop an arts policy as part of their platforms.\u003c/p>\n\u003cp>“We are talking to everybody to make sure we’re in the right rooms,” says Moscone. “It’s better to be in the room making the decisions, than to be outside of the room, hearing the decisions.”\u003c/p>\n\u003cfigure id=\"attachment_13809567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809567\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Moscone at San Francisco Arts Advocacy Day in 2017, which he says gathered a much larger crowd than years before. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Try again next year?\u003c/h2>\n\u003cp>Another tactic is to go back to voters. If advocates want to secure guaranteed funding through the hotel tax, state law requires that they pass a ballot initiative like Measure S.\u003c/p>\n\u003cp>The big decision is if, and when, to mount such a campaign. Now, thanks to an obscure court ruling, arts advocates may decide to put forward a new ballot initiative as soon as the next election in June 2018.\u003c/p>\n\u003cp>In August, the state supreme court \u003ca href=\"http://www.courts.ca.gov/opinions/documents/S234148A.PDF\">ruled \u003c/a>that local tax initiatives placed by citizens are in a different category than those proposed by government bodies. The ruling’s outcome is still uncertain, but it could mean that voters could pass a local tax measure with a simple majority of votes, rather than two-thirds.\u003c/p>\n\u003cp>In San Francisco, City Attorney Dennis Herrera is responsible for interpreting the decision. He has yet to make a public statement on the subject, but arts advocates are fired up about the possibility that a future ballot initiative could pass more easily.\u003c/p>\n\u003cp>Reaching 50 percent next time “seems like it’s very doable,” says Vinay Patel, executive director of the \u003ca href=\"http://www.apiculturalcenter.org/\">Asian Pacific Islander Cultural Center\u003c/a>.\u003c/p>\n\u003cp>Patel says the first step of a new ballot proposition campaign is to find out if the arts community is ready to mobilize again. He says that thanks to Measure S, artists now have a better understanding of the political process.\u003c/p>\n\u003cp>“I’ve talked to people in my community about this, and they’re all very excited,” says Patel. And this time, “they already know what it takes.”\u003c/p>\n\u003cp>Moscone says the arts coalition is carefully considering the timing of another ballot run.\u003c/p>\n\u003cp>“You want to make the right move,” says Moscone. “You don’t want to just keep going after a ballot just to go after it — you want to win.”\u003c/p>\n\u003cp>Because of the time it takes to raise money and gather signatures, Moscone says the group needs to decide in the coming weeks whether to run on the June 2018 ballot.\u003c/p>\n\u003cp>“If indeed we were to go back to a ballot in June or November of next year,” says Moscone, “it would require immediate and swift action.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 13
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"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
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"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.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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