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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Thursday, San Francisco’s Yerba Buena Center for the Arts announced the inaugural YBCA 10, a new artist cohort program that will invest half a million dollars into the work of 10 artists. Mostly from the Bay Area, the 10 artists will each be granted $50,000 and join YBCA for a one-year period to create new work of their choice focused on their communities’ health and well-being. \u003c/p>\n\u003cp>The recipients are Binta Ayofemi, Alex Bledsoe, Leticia Hernandez, My-Linh Le, Nikiko Masumoto, Ayodele Nzinga, Hasain Rasheed, Darryl Ratcliff, Dorothy Santos, and Deanna Van Buren. \u003c/p>\n\u003cp>As the artists develop prototypes of their work, the public will be able to view and give feedback online and on-site through YBCA’s Public Squares program, beginning in June 2021. This model is designed to facilitate natural interaction around the work of the cohort, with the intention of prioritizing public participation.\u003c/p>\n\u003cp>The 10 artists, each of which are also part of the annual YBCA 100 list, will be at the center of YBCA’s programming for the next year. With disciplines and mediums ranging from film, dance, photography, architecture, performance, to theatre and more, the intergenerational and interdisciplinary BIPOC cohort was chosen, YBCA CEO Deborah Cullinan says, “not only for their creative talent, but also for their ability and willingness to collaborate amongst themselves and with their communities.” \u003c/p>\n\u003cp>Learn more about the YBCA 10 artists on \u003ca href=\"https://ybca.org/ybca-10-artist-cohort/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA’s site\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the Bay Area is on the path to reopening, artists are still struggling within the pandemic—exhibitions and performances have been canceled and postponed, and many have lost the side gigs and day jobs that sustained their creative practices. \u003c/p>\n\u003cp>With support from San Francisco Grants for the Arts, Southern Exposure is now accepting applications for a second round of emergency relief funding. They will bestow 19 grants of $1,000 each to San Francisco-based artists (this includes those with a San Francisco studio, fiscal sponsorship from a San Francisco organization, or a university student at a San Francisco institution).\u003c/p>\n\u003cp>Priority will be given to artists who are Black, Indigenous, POC, elder, LGBTQ+, disabled, immunocompromised and immigrants. The funds may be used to cover any needed expenses related to lost income due to COVID-19. Applications are due by Nov. 9, \u003ca href=\"https://soex.org/alternative-exposure/how-apply-0\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Minnesota Street Project Foundation, the nonprofit arm of the Dogpatch arts complex, announced today the first recipients of its \u003ca href=\"https://minnesotastreetproject.org/california-black-voices-project\" rel=\"noopener noreferrer\" target=\"_blank\">California Black Voices Project\u003c/a> grant. Indira Allegra, Lizzetta LeFalle-Collins, Rashaad Newsome, Toni Scott and Leila Weefur will each receive $10,000 and space at the Minnesota Street Project galleries to showcase new works in 2021. A jury of local artists and arts professionals—Dewey Crumpler, Karen Jenkins-Johnson, Andrew McClintock and Lava Thomas—selected the recipients.\u003c/p>\n\u003cp>[aside postID='arts_13882705']Launched in direct response to systemic racism in the art world, the grant is currently funded by Deborah and Andy Rappaport, who seeded the California Black Voices Project and Grants for Arts Equity (funds for Bay Area institutions, inaugural recipients yet to be announced) with an initial $150,000.\u003c/p>\n\u003cp>Each awardee proposed a specific project in their application. \u003ca href=\"https://www.indiraallegra.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Allegra\u003c/a>, a multidisciplinary artist and writer, will explore memorial as a genre. Curator \u003ca href=\"https://www.instagram.com/lefalle25/\" rel=\"noopener noreferrer\" target=\"_blank\">LeFalle-Collins\u003c/a> will continue her practice considering Black artists’ work within broader art historical contexts, outside what she terms the “Black Box.” \u003ca href=\"http://rashaadnewsome.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Newsome\u003c/a> draws from advertising, the internet, Black and queer culture through a multimedia process of collage. \u003ca href=\"https://www.toniscott.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Scott\u003c/a> often centers her own complex heritage within the United States’ history of genocide and slavery—and their effect on contemporary systemic racism. And \u003ca href=\"http://www.leilaweefur.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Weefur\u003c/a> constructs video installations to convey a bodily understanding of Black narratives through those viewing conditions.\u003c/p>\n\u003cp>The exhibition portion of the grants will begin with a show of Allegra’s work next year; the show will also be featured on \u003ca href=\"https://minnesotastreetprojectadjacent.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Adjacent\u003c/a>, Minnesota Street Project’s new online platform for exhibitions, events and artist residencies (Allegra is their inaugural artist in residence).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Launched in direct response to systemic racism in the art world, the grant is currently funded by Deborah and Andy Rappaport, who seeded the California Black Voices Project and Grants for Arts Equity (funds for Bay Area institutions, inaugural recipients yet to be announced) with an initial $150,000.\u003c/p>\n\u003cp>Each awardee proposed a specific project in their application. \u003ca href=\"https://www.indiraallegra.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Allegra\u003c/a>, a multidisciplinary artist and writer, will explore memorial as a genre. Curator \u003ca href=\"https://www.instagram.com/lefalle25/\" rel=\"noopener noreferrer\" target=\"_blank\">LeFalle-Collins\u003c/a> will continue her practice considering Black artists’ work within broader art historical contexts, outside what she terms the “Black Box.” \u003ca href=\"http://rashaadnewsome.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Newsome\u003c/a> draws from advertising, the internet, Black and queer culture through a multimedia process of collage. \u003ca href=\"https://www.toniscott.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Scott\u003c/a> often centers her own complex heritage within the United States’ history of genocide and slavery—and their effect on contemporary systemic racism. And \u003ca href=\"http://www.leilaweefur.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Weefur\u003c/a> constructs video installations to convey a bodily understanding of Black narratives through those viewing conditions.\u003c/p>\n\u003cp>The exhibition portion of the grants will begin with a show of Allegra’s work next year; the show will also be featured on \u003ca href=\"https://minnesotastreetprojectadjacent.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Adjacent\u003c/a>, Minnesota Street Project’s new online platform for exhibitions, events and artist residencies (Allegra is their inaugural artist in residence).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"content": "\u003cp>No industry remains untouched by the economic impact of the coronavirus pandemic, and independent filmmakers, already in a precarious financial state, are no exception. Film festivals have been canceled or rerouted into streaming events; releases have been delayed; the gatherings that allow filmmakers to share ideas, resources and enthusiasm for each others’ projects are all suspended for the foreseeable future. (Will we really be flying to Park City in January 2021?) \u003c/p>\n\u003cp>[aside postID='arts_13884767']And like many industries forced to fill gaps in government spending on health care and coronavirus-related relief funds, the filmmaking community has had to step up to ensure its members can weather this global health crisis and emerge with stories to tell (and the means to do so). \u003c/p>\n\u003cp>To that end, the Center for Asian American Media, with support from the Sundance Institute, is awarding as many as \u003ca href=\"https://caamedia.org/blog/2020/08/13/caam-to-offer-emergency-grants-for-filmmakers-from-the-sundance-institute/?utm_source=MadMimi&utm_medium=email&utm_content=Apply+for+Emergency+Grants+for+Filmmakers+Made+Possible+by+Sundance+Institute&utm_campaign=20200814_m159625399_Apply+for+Emergency+Grants+For+Filmmakers+Made+Possible+By+Sundance+Institute&utm_term=here\" rel=\"noopener noreferrer\" target=\"_blank\">15 emergency grants of up to $1,000 each\u003c/a> to Asian American filmmakers with demonstrated financial needs as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>The funds come from the $1 million \u003ca href=\"https://www.sundance.org/covid19\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Institute Respond and Reimagine Plan\u003c/a>, which awarded grants directly to artists, as well as through \u003ca href=\"https://www.artistrelief.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Artist Relief\u003c/a>, and selected organizations to redistribute a remaining $405,000 to artists from historically marginalized communities. Sundance picked 39 grantees across the world, including local media orgs CAAM and Frameline.\u003c/p>\n\u003cp>Applicants for the CAAM emergency grants, among other requirements, must identify as Asian American; cannot be current students; must be directors, producers, cinematographers or editors experiencing dire financial emergencies due to the pandemic; and must have completed at least “one nonfiction film or interactive media project that was publicly exhibited in a curated and/or noncommercial environment.” \u003c/p>\n\u003cp>Applications are due by Monday, Aug. 31. \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSd8SRRSdwVwmJa9_0l_CtalDp1w7bYQKSr2SCeeLjqaZjXTEg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No industry remains untouched by the economic impact of the coronavirus pandemic, and independent filmmakers, already in a precarious financial state, are no exception. Film festivals have been canceled or rerouted into streaming events; releases have been delayed; the gatherings that allow filmmakers to share ideas, resources and enthusiasm for each others’ projects are all suspended for the foreseeable future. (Will we really be flying to Park City in January 2021?) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And like many industries forced to fill gaps in government spending on health care and coronavirus-related relief funds, the filmmaking community has had to step up to ensure its members can weather this global health crisis and emerge with stories to tell (and the means to do so). \u003c/p>\n\u003cp>To that end, the Center for Asian American Media, with support from the Sundance Institute, is awarding as many as \u003ca href=\"https://caamedia.org/blog/2020/08/13/caam-to-offer-emergency-grants-for-filmmakers-from-the-sundance-institute/?utm_source=MadMimi&utm_medium=email&utm_content=Apply+for+Emergency+Grants+for+Filmmakers+Made+Possible+by+Sundance+Institute&utm_campaign=20200814_m159625399_Apply+for+Emergency+Grants+For+Filmmakers+Made+Possible+By+Sundance+Institute&utm_term=here\" rel=\"noopener noreferrer\" target=\"_blank\">15 emergency grants of up to $1,000 each\u003c/a> to Asian American filmmakers with demonstrated financial needs as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>The funds come from the $1 million \u003ca href=\"https://www.sundance.org/covid19\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Institute Respond and Reimagine Plan\u003c/a>, which awarded grants directly to artists, as well as through \u003ca href=\"https://www.artistrelief.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Artist Relief\u003c/a>, and selected organizations to redistribute a remaining $405,000 to artists from historically marginalized communities. Sundance picked 39 grantees across the world, including local media orgs CAAM and Frameline.\u003c/p>\n\u003cp>Applicants for the CAAM emergency grants, among other requirements, must identify as Asian American; cannot be current students; must be directors, producers, cinematographers or editors experiencing dire financial emergencies due to the pandemic; and must have completed at least “one nonfiction film or interactive media project that was publicly exhibited in a curated and/or noncommercial environment.” \u003c/p>\n\u003cp>Applications are due by Monday, Aug. 31. \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSd8SRRSdwVwmJa9_0l_CtalDp1w7bYQKSr2SCeeLjqaZjXTEg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "New Grants from MSP Foundation to Fund Black Voices and Arts Equity",
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"content": "\u003cp>The nonprofit arm of Andy and Deborah Rappaport’s Minnesota Street Project arts hub announced today the creation of two new grantmaking programs to “address the systemic racism in the art world.” The couple has seeded an initial $150,000 to the programs, which are called the California Black Voices Project and Grants for Arts Equity.\u003c/p>\n\u003cp>The California Black Voices Project will bestow five grants of $10,000 each on Black artists, curators or collectives to create new artwork or exhibitions in any medium. Grantees will receive exhibition space at the Minnesota Street Project’s Dogpatch gallery building, 1275 Minnesota Street, home to a dozen galleries and currently open only by appointment due to the ongoing pandemic. Guidelines and the jury for the California Black Voices Project will be announced by July 15, with applications due by Aug. 31. Grantees will be announced in September.\u003c/p>\n\u003cp>Grants for Arts Equity will provide capacity-building grants to Bay Area visual arts organizations serving BIPOC and “other underserved audiences.” This program will provide grants of up to $10,000 per organization; applications will open July 15 and funds will be distributed starting in September on a rolling basis.\u003c/p>\n\u003cp>The foundation encourages other funders to match the Rappaports’ investment in the local and state arts ecosystem, hinting that more grantmaking programs are coming before the end of 2020.\u003c/p>\n\u003cp>The \u003ca href=\"https://minnesotastreetproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project Foundation\u003c/a> was created in late 2019. In its initial press release the foundation promised to “engage sponsorship opportunities, curate experiences, encourage community efforts, and help organizations meet funders where they want to be met.” The California Black Voices Project and Grants for Arts Equity programs mark the first dispersal of funds from the foundation. \u003ca href=\"https://minnesotastreetproject.org/new-page-4\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nonprofit arm of Andy and Deborah Rappaport’s Minnesota Street Project arts hub announced today the creation of two new grantmaking programs to “address the systemic racism in the art world.” The couple has seeded an initial $150,000 to the programs, which are called the California Black Voices Project and Grants for Arts Equity.\u003c/p>\n\u003cp>The California Black Voices Project will bestow five grants of $10,000 each on Black artists, curators or collectives to create new artwork or exhibitions in any medium. Grantees will receive exhibition space at the Minnesota Street Project’s Dogpatch gallery building, 1275 Minnesota Street, home to a dozen galleries and currently open only by appointment due to the ongoing pandemic. Guidelines and the jury for the California Black Voices Project will be announced by July 15, with applications due by Aug. 31. Grantees will be announced in September.\u003c/p>\n\u003cp>Grants for Arts Equity will provide capacity-building grants to Bay Area visual arts organizations serving BIPOC and “other underserved audiences.” This program will provide grants of up to $10,000 per organization; applications will open July 15 and funds will be distributed starting in September on a rolling basis.\u003c/p>\n\u003cp>The foundation encourages other funders to match the Rappaports’ investment in the local and state arts ecosystem, hinting that more grantmaking programs are coming before the end of 2020.\u003c/p>\n\u003cp>The \u003ca href=\"https://minnesotastreetproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project Foundation\u003c/a> was created in late 2019. In its initial press release the foundation promised to “engage sponsorship opportunities, curate experiences, encourage community efforts, and help organizations meet funders where they want to be met.” The California Black Voices Project and Grants for Arts Equity programs mark the first dispersal of funds from the foundation. \u003ca href=\"https://minnesotastreetproject.org/new-page-4\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hewlett Foundation Announces $1.5 Million in Grants for New Dance Works",
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"content": "\u003cp>Three years ago, the William and Flora Hewlett Foundation announced the Hewlett 50 Arts Commission, a major five-year, $8 million initiative to commission “50 exceptional works of performing arts.” Each year since, the foundation has awarded 10 grants to Bay Area nonprofits that work with artists for the creation of new works.\u003c/p>\n\u003cp>The Hewlett Foundation announced \u003ca href=\"https://hewlett.org/50commissions/\" rel=\"noopener noreferrer\" target=\"_blank\">this year’s awardees\u003c/a>, all in the field of dance and movement-based performance, on Tuesday. The 10 awardees will receive $150,000 each to bring their projects to fruition over the next three years; they include organizations in the Bay Area both small and large, such as the EastSide Arts Alliance in Oakland and the Green Music Center at Sonoma State University. A full list is below. \u003c/p>\n\u003cp>“While the projects awarded today were conceived and planned before the pandemic or the current Black Lives Matter protests across the country, the themes they will tackle—including racial justice, inequality and rising xenophobia around the world—are strikingly relevant to the challenges our society confronts today,” according to a press release announcing the $1.5 million in grants, chosen by a national panel of dance experts.\u003c/p>\n\u003cp>The arts have the ability to “infuse people’s lives with beauty, offer solace and build empathy—and that’s especially important right now,” Emiko Ono, Performing Arts Program Director for the Hewlett Foundation, said in a statement. “At a time when our country is grappling with its failures and trying to chart a path forward, these artistic projects can illuminate the lives of individuals and our diverse communities, provoke debate and help reimagine our shared future.” \u003c/p>\n\u003cp>Since its founding in 1967, the Hewlett Foundation, based in Menlo Park, has awarded more than $375 million to arts organizations. (The foundation also supplies funding for KQED Arts.) Previous awardees in the Hewlett 50 Arts Commission include the disciplines of music composition, theater and spoken word performance; future grants for folk and traditional arts, film and media will be announced in the future. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>2020 Hewlett 50 Arts Commission Awardees\u003c/h2>\n\u003cp>\u003cstrong>Brava! for Women in the Arts with Vanessa Sanchez\u003c/strong>\u003cbr>\n“Ghostly Labor” illuminates a history of abuse, activism and perseverance by Chicana and Native women working in the US-Mexico borderlands.\u003c/p>\n\u003cp>\u003cstrong>Center for Empowering Refugees and Immigrants and ARTogether with Prumsodun Ok\u003c/strong>\u003cbr>\n“A Deepest Blue” uses a founding myth common to Cambodia and Japan to contemplate humanity’s relationship with and responsibility to our threatened oceans and the natural world.\u003c/p>\n\u003cp>\u003cstrong>Circo Zero with Ishmael Houston-Jones\u003c/strong>\u003cbr>\n“TRY” is an experimental improvised dance that aims to subvert traditional notions of race and masculinity.\u003c/p>\n\u003cp>\u003cstrong>Dancers’ Group with Joanna Haigood\u003c/strong>\u003cbr>\n“The People’s Building” investigates movement and visual storytelling in relation to the history, architecture and metaphors inherent in San Francisco City Hall.\u003c/p>\n\u003cp>\u003cstrong>Green Music Center with Liz Lerman\u003c/strong>\u003cbr>\nAn evening-length dance-theater piece, “Wicked Bodies (Sonoma)” wonders about the persistence across time and culture of old crones, evil stepmothers and powerful institutions’ use of the female body as a source of fear. \u003c/p>\n\u003cp>\u003cstrong>EastSide Arts Alliance with Amara Tabor-Smith\u003c/strong>\u003cbr>\n“This too shall pass” is part of a ritual dance theater project addressing the wellbeing, displacement and sex-trafficking of black women and girls in Oakland. \u003c/p>\n\u003cp>\u003cstrong>Nā Lei Hulu I Ka Wēkiu with Patrick Makuakāne\u003c/strong>\u003cbr>\n“MĀHŪ” is a work of multi-media hula dance theater that aims to reclaim and celebrate the traditional place of honor, respect and influence given to māhū (transgender) people in ancient Hawaiian society.\u003c/p>\n\u003cp>\u003cstrong>Japanese American Citizens League, San Jose Chapter with Yayoi Kambara\u003c/strong>\u003cbr>\n“IKKAI means once: a transplanted pilgrimage” incorporates modern dance, Bon Odori, storytelling and taiko to guide audiences through the impact and legacy of Japanese American incarceration during World War II.\u003c/p>\n\u003cp>\u003cstrong>Filipino-American Development Foundation with Alleluia Panis\u003c/strong>\u003cbr>\n“Nursing These Wounds” investigates the impact of colonization on Pilipinx health and caregiving through the lens of Pilipinx nurses’ history.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Margaret Jenkins Dance Company with Margaret Jenkins\u003c/strong>\u003cbr>\nIn “Global Moves,” artists from China, India, Israel and the United States explore the current waves of isolation and xenophobia in their countries and around the world, using cultural texts as prompts to make a work of hope and unity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three years ago, the William and Flora Hewlett Foundation announced the Hewlett 50 Arts Commission, a major five-year, $8 million initiative to commission “50 exceptional works of performing arts.” Each year since, the foundation has awarded 10 grants to Bay Area nonprofits that work with artists for the creation of new works.\u003c/p>\n\u003cp>The Hewlett Foundation announced \u003ca href=\"https://hewlett.org/50commissions/\" rel=\"noopener noreferrer\" target=\"_blank\">this year’s awardees\u003c/a>, all in the field of dance and movement-based performance, on Tuesday. The 10 awardees will receive $150,000 each to bring their projects to fruition over the next three years; they include organizations in the Bay Area both small and large, such as the EastSide Arts Alliance in Oakland and the Green Music Center at Sonoma State University. A full list is below. \u003c/p>\n\u003cp>“While the projects awarded today were conceived and planned before the pandemic or the current Black Lives Matter protests across the country, the themes they will tackle—including racial justice, inequality and rising xenophobia around the world—are strikingly relevant to the challenges our society confronts today,” according to a press release announcing the $1.5 million in grants, chosen by a national panel of dance experts.\u003c/p>\n\u003cp>The arts have the ability to “infuse people’s lives with beauty, offer solace and build empathy—and that’s especially important right now,” Emiko Ono, Performing Arts Program Director for the Hewlett Foundation, said in a statement. “At a time when our country is grappling with its failures and trying to chart a path forward, these artistic projects can illuminate the lives of individuals and our diverse communities, provoke debate and help reimagine our shared future.” \u003c/p>\n\u003cp>Since its founding in 1967, the Hewlett Foundation, based in Menlo Park, has awarded more than $375 million to arts organizations. (The foundation also supplies funding for KQED Arts.) Previous awardees in the Hewlett 50 Arts Commission include the disciplines of music composition, theater and spoken word performance; future grants for folk and traditional arts, film and media will be announced in the future. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The City of Oakland has partnered with multiple private funders to launch the \u003ca href=\"https://www.cciarts.org/EastBayOaklandRelief.htm\" rel=\"noopener noreferrer\" target=\"_blank\">East Bay/Oakland Relief Fund for Individuals in the Arts\u003c/a>, which makes $625,000 available directly to artists, and cultural and nonprofit arts workers in Alameda County and Contra Costa County.\u003c/p>\n\u003cp>Individual grants are capped at $2,000 each, and are unrestricted, meaning the funds may be used in any way that alleviates financial burdens as a result of the COVID-19 pandemic. The application cycle runs from May 18–June 5. \u003c/p>\n\u003cp>“With this relief fund, we’re investing directly in our most vulnerable artists and culture workers, who have been incredibly hard-hit by the COVID-19 crisis,” Oakland Mayor Libby Schaaf said in a statement, adding, “I’m grateful to this public/private partnership of funders who’ve stepped forward to support our diverse artistic communities.”\u003c/p>\n\u003cp>The fund is led by the Kenneth Rainin Foundation together with the Akonadi Foundation; City of Oakland, Cultural Affairs Division; Richard Diebenkorn Foundation; Fleishhacker Foundation; Gerbode Foundation; William and Flora Hewlett Foundation; Nion McEvoy and Leslie Berriman; Oakland COVID-19 Relief Fund; Shuler-Heimburger Family Fund at East Bay Community Foundation; Phyllis C. Wattis Foundation; and individual donors.\u003c/p>\n\u003cp>Details on the fund and instructions for applying can be found \u003ca href=\"https://www.cciarts.org/EastBayOaklandRelief.htm\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>— Gabe Meline (\u003ca href=\"https://twitter.com/gmeline\" rel=\"noopener noreferrer\" target=\"_blank\">@gmeline\u003c/a>)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of Oakland has partnered with multiple private funders to launch the \u003ca href=\"https://www.cciarts.org/EastBayOaklandRelief.htm\" rel=\"noopener noreferrer\" target=\"_blank\">East Bay/Oakland Relief Fund for Individuals in the Arts\u003c/a>, which makes $625,000 available directly to artists, and cultural and nonprofit arts workers in Alameda County and Contra Costa County.\u003c/p>\n\u003cp>Individual grants are capped at $2,000 each, and are unrestricted, meaning the funds may be used in any way that alleviates financial burdens as a result of the COVID-19 pandemic. The application cycle runs from May 18–June 5. \u003c/p>\n\u003cp>“With this relief fund, we’re investing directly in our most vulnerable artists and culture workers, who have been incredibly hard-hit by the COVID-19 crisis,” Oakland Mayor Libby Schaaf said in a statement, adding, “I’m grateful to this public/private partnership of funders who’ve stepped forward to support our diverse artistic communities.”\u003c/p>\n\u003cp>The fund is led by the Kenneth Rainin Foundation together with the Akonadi Foundation; City of Oakland, Cultural Affairs Division; Richard Diebenkorn Foundation; Fleishhacker Foundation; Gerbode Foundation; William and Flora Hewlett Foundation; Nion McEvoy and Leslie Berriman; Oakland COVID-19 Relief Fund; Shuler-Heimburger Family Fund at East Bay Community Foundation; Phyllis C. Wattis Foundation; and individual donors.\u003c/p>\n\u003cp>Details on the fund and instructions for applying can be found \u003ca href=\"https://www.cciarts.org/EastBayOaklandRelief.htm\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "uc-berkeley-art-professor-displaces-dance-studio-to-create-new-art-space",
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"content": "\u003cp>On November 1, a couple dozen artists, gallerists and nonprofit workers gathered to collaboratively envision an empty West Oakland building as a community art space.\u003c/p>\n\u003cp>There were speeches from property co-owner Shannon Jackson, a professor and the associate vice chancellor of arts and design at UC Berkeley, and employees of Community Arts Stabilization Trust (CAST), a nonprofit focused on the cultural sector. Attendees brainstormed in groups, responding to prompts such as, “What do you imagine being here?”\u003c/p>\n\u003cp>The event, hosted by CAST and Shannon and Jacqueline Jackson, was billed “Reimagining the Noodle Factory,” a reference to the property’s 2000s incarnation as a live-work complex and underground events space. But pieces of paper taped to the entrance obscured a sign for its tenant of the past six years, Skyhigh Odditorium. All night, the dance studio went conspicuously unmentioned.\u003c/p>\n\u003cfigure id=\"attachment_13847690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg\" alt=\"A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The omission troubled Thomas Dolan, a live-work architect and advocate who’d visited Skyhigh as a safety consultant early last year. During the event, he worried that he’d been asked to reimagine an art space built on the back of another’s displacement. So he approached Jackson to ask about Skyhigh. \u003c/p>\n\u003cp>“She just told me it didn’t work out,” he recalled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Skyhigh Odditorium had been displaced three months prior, after the Jacksons, who bought the building last year, declined to renew its lease. (Jacqueline Jackson, Shannon Jackson’s business partner, is a North Bay realtor.) Skyhigh founder Madamn Burnz said the Jacksons’ property managers explained to her that the new owners planned to create an art space.\u003c/p>\n\u003cp>“I was extremely confused,” Burnz said. “What did they think we’d been doing there for six years?”\u003c/p>\n\u003cp>Burnz and a handful of Skyhigh instructors \u003ca href=\"http://skyhighodditorium.com/classes/\" target=\"_blank\" rel=\"noopener noreferrer\">offered classes\u003c/a> such as aerial and pole dancing to more than 60 students weekly in addition to hosting public events. There were offices and prop and music studios as well as a performance space. Now Burnz teaches out of a shared studio nearby.\u003c/p>\n\u003cfigure id=\"attachment_13847680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg\" alt='San Francisco nonprofit Community Arts Stabilization Trust co-hosted \"Reimagining the Noodle Factory.\"' width=\"800\" height=\"567\" class=\"size-medium wp-image-13847680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1200x851.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory.jpg 1241w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco nonprofit Community Arts Stabilization Trust co-hosted “Reimagining the Noodle Factory.”\u003c/figcaption>\u003c/figure>\n\u003cp>Lease termination after a property transaction isn’t unusual, especially with the intense demand for commercial space in Oakland. But Jackson doesn’t have a real-estate speculator’s credentials: she’s an extensively published \u003ca href=\"http://tdps.berkeley.edu/people/shannon-jackson/\" target=\"_blank\" rel=\"noopener noreferrer\">scholar\u003c/a> of art and social change with \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">close ties\u003c/a> to culture funders such as the Kenneth Rainin Foundation, which supports CAST.\u003c/p>\n\u003cp>\u003ca href=\"https://cast-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAST\u003c/a> is known for developing property for arts uses. For example, the nonprofit offers subsidized rent with the option to buy to San Francisco organizations including Counterpulse and Luggage Store Gallery. CAST is also the City of Oakland’s partner in the grant initiative “Keeping Space,” and is currently working with officials to acquire property in Oakland for a multi-tenant arts and culture hub.\u003c/p>\n\u003cp>Burnz could understand being evicted by a baldly profit-seeking landlord. Instead she’s left wondering why a professional culture booster deemed her business undeserving of its longtime home. The reimagining event, with its cultural stabilization pretense, struck Burnz as a case of buzzwords belied by actions: Skyhigh Odditorium’s displacement involved some of the very same people now claiming to work for artists in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13847687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg\" alt=\"Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13847687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly. \u003ccite>(Courtesy Skyhigh Odditorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST toured Skyhigh the week Burnz learned her lease wouldn’t be renewed. But Owen Levin, the nonprofit’s director of finance and operations, said CAST wasn’t involved in Jackson’s decision to displace Skyhigh. “CAST is not interested in evicting any artist from any space, and we’re not interested in helping any artist get displaced,” Levin said.\u003c/p>\n\u003cp>CAST’s obligation to Jackson, he continued, was limited to the meeting, but Levin left open the possibility of helping her find new tenants going forward. \u003c/p>\n\u003cp>“It’s not clear to me that it’d be of greater benefit to anyone for us not to work with the landlord,” he said.\u003c/p>\n\u003cp>Shannon Jackson declined multiple interview requests for this article. “We purchased the property with a specific mission about how we planned to use the space,” she wrote in an email. “Our goals for the Noodle Factory partnerships are to support arts and culture in the neighborhood the region, while also adhering to codes for health, fire and safety.”\u003c/p>\n\u003cp>Previous owners of the two-story building at 26th and Union streets harbored similar ambitions.\u003c/p>\n\u003cfigure id=\"attachment_13847685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg\" alt=\"The Northern California Land Trust spent millions renovating the building.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Northern California Land Trust spent millions renovating the building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dana Harrison, a financier-turned-Burning Man Project employee, bought the property in 1999, and it became a \u003ca href=\"https://www.eastbayexpress.com/oakland/noodling-around/Content?oid=1091408\">regular venue\u003c/a> for underground parties as well as a residence to as many as 30 people. Daunted by the task of bringing the 19,000 square foot building to code, though, she bequeathed it to the Northern California Land Trust in 2005.\u003c/p>\n\u003cp>The land trust spent millions renovating the building, converting it into 11 live-work condos in addition to the 2,000 square foot performance space with a mezzanine and offices. Using an affordable housing stewardship model, the land trust marketed the units to low-income artists who would benefit from the onsite rehearsal and performance space. [contextly_sidebar id=”oRkcEOpH9R82LCxTdkDbAJiHd0tcqnDt”]\u003c/p>\n\u003cp>But the development \u003ca href=\"https://www.eastbayexpress.com/oakland/regaining-trust/Content?oid=2959560\">unraveled\u003c/a> after the subprime mortgage crisis, and in 2010 the property went into foreclosure. The land trust filed for bankruptcy, and in 2011 it sold the building to San Francisco real-estate firm Urban Green Investments. When Burnz leased the performance and office unit for Skyhigh in 2012, it was a neglected storage area. \u003c/p>\n\u003cp>Burnz, 35, whose given name is Laiya Baraka, landed in the Bay Area after traveling with a fire-eating troupe, and launched Skyhigh to accommodate her business as an instructor in aerial dancing and other circus arts. Early on, she redid the dilapidated floors and discarded truckloads of garbage. Eventually she subleased workspace to other artists.\u003c/p>\n\u003cp>Burnz got along with Urban Green. After three years, she signed a new lease, and the landlord installed a new kitchen. After the Jacksons bought the property last January for $3,730,000, Burnz was at first heartened to learn Shannon is a performing arts scholar. But the two of them never met. In a Mar. 1, 2018 email, a Lapham Company property manager told Burnz that the owners “are not interested in renewing your lease.”\u003c/p>\n\u003cfigure id=\"attachment_13847689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg\" alt=\"Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burnz solicited dozens of letters of support for Skyhigh, but the owners weren’t persuaded. (The live-work tenants in other units weren’t affected by the transition.) She unsuccessfully tried to find a comparable, similarly affordable space for her business. As the end of her lease drew near, she sought an extension. Through a lawyer, Jackson offered an additional month—at twice the rent. Burnz declined, and moved out July 1.\u003c/p>\n\u003cp>CAST’s community engagement and real-estate development staff toured the building on Mar. 7, but Levin said they had misgivings about the situation, and told Jackson as well as Burnz that they weren’t going to be involved. “They needed to work it out,” he said.\u003c/p>\n\u003cp>But once Skyhigh was gone, he continued, CAST agreed to “consult on the imagining.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Burnz only learned CAST was once again working with Jackson the night of the reimagining event in November, when she drove by and saw nonprofit staff talking to her former property managers outside the building. “I saw a balloon, and I was actually excited that someone had rented it for a party,” she said. “And then my heart sunk.”\u003c/p>\n\n",
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"title": "UC Berkeley Art Professor Displaces Dance Studio to Create New Art Space | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On November 1, a couple dozen artists, gallerists and nonprofit workers gathered to collaboratively envision an empty West Oakland building as a community art space.\u003c/p>\n\u003cp>There were speeches from property co-owner Shannon Jackson, a professor and the associate vice chancellor of arts and design at UC Berkeley, and employees of Community Arts Stabilization Trust (CAST), a nonprofit focused on the cultural sector. Attendees brainstormed in groups, responding to prompts such as, “What do you imagine being here?”\u003c/p>\n\u003cp>The event, hosted by CAST and Shannon and Jacqueline Jackson, was billed “Reimagining the Noodle Factory,” a reference to the property’s 2000s incarnation as a live-work complex and underground events space. But pieces of paper taped to the entrance obscured a sign for its tenant of the past six years, Skyhigh Odditorium. All night, the dance studio went conspicuously unmentioned.\u003c/p>\n\u003cfigure id=\"attachment_13847690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg\" alt=\"A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-paper-obsures-Skyhigh-hours-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A piece of paper taped to the entrance of the Noodle Factory obscured a sign for its most recent tenant, Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The omission troubled Thomas Dolan, a live-work architect and advocate who’d visited Skyhigh as a safety consultant early last year. During the event, he worried that he’d been asked to reimagine an art space built on the back of another’s displacement. So he approached Jackson to ask about Skyhigh. \u003c/p>\n\u003cp>“She just told me it didn’t work out,” he recalled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Skyhigh Odditorium had been displaced three months prior, after the Jacksons, who bought the building last year, declined to renew its lease. (Jacqueline Jackson, Shannon Jackson’s business partner, is a North Bay realtor.) Skyhigh founder Madamn Burnz said the Jacksons’ property managers explained to her that the new owners planned to create an art space.\u003c/p>\n\u003cp>“I was extremely confused,” Burnz said. “What did they think we’d been doing there for six years?”\u003c/p>\n\u003cp>Burnz and a handful of Skyhigh instructors \u003ca href=\"http://skyhighodditorium.com/classes/\" target=\"_blank\" rel=\"noopener noreferrer\">offered classes\u003c/a> such as aerial and pole dancing to more than 60 students weekly in addition to hosting public events. There were offices and prop and music studios as well as a performance space. Now Burnz teaches out of a shared studio nearby.\u003c/p>\n\u003cfigure id=\"attachment_13847680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg\" alt='San Francisco nonprofit Community Arts Stabilization Trust co-hosted \"Reimagining the Noodle Factory.\"' width=\"800\" height=\"567\" class=\"size-medium wp-image-13847680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory-1200x851.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/CAST-Facebook-Post-Noodle-Factory.jpg 1241w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco nonprofit Community Arts Stabilization Trust co-hosted “Reimagining the Noodle Factory.”\u003c/figcaption>\u003c/figure>\n\u003cp>Lease termination after a property transaction isn’t unusual, especially with the intense demand for commercial space in Oakland. But Jackson doesn’t have a real-estate speculator’s credentials: she’s an extensively published \u003ca href=\"http://tdps.berkeley.edu/people/shannon-jackson/\" target=\"_blank\" rel=\"noopener noreferrer\">scholar\u003c/a> of art and social change with \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">close ties\u003c/a> to culture funders such as the Kenneth Rainin Foundation, which supports CAST.\u003c/p>\n\u003cp>\u003ca href=\"https://cast-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAST\u003c/a> is known for developing property for arts uses. For example, the nonprofit offers subsidized rent with the option to buy to San Francisco organizations including Counterpulse and Luggage Store Gallery. CAST is also the City of Oakland’s partner in the grant initiative “Keeping Space,” and is currently working with officials to acquire property in Oakland for a multi-tenant arts and culture hub.\u003c/p>\n\u003cp>Burnz could understand being evicted by a baldly profit-seeking landlord. Instead she’s left wondering why a professional culture booster deemed her business undeserving of its longtime home. The reimagining event, with its cultural stabilization pretense, struck Burnz as a case of buzzwords belied by actions: Skyhigh Odditorium’s displacement involved some of the very same people now claiming to work for artists in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13847687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg\" alt=\"Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13847687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Skyhigh-Odditorium-courtesy-Skyhigh.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before its displacement, Skyhigh Odditorium offered classes such as aerial and pole dancing to more than 60 people weekly. \u003ccite>(Courtesy Skyhigh Odditorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST toured Skyhigh the week Burnz learned her lease wouldn’t be renewed. But Owen Levin, the nonprofit’s director of finance and operations, said CAST wasn’t involved in Jackson’s decision to displace Skyhigh. “CAST is not interested in evicting any artist from any space, and we’re not interested in helping any artist get displaced,” Levin said.\u003c/p>\n\u003cp>CAST’s obligation to Jackson, he continued, was limited to the meeting, but Levin left open the possibility of helping her find new tenants going forward. \u003c/p>\n\u003cp>“It’s not clear to me that it’d be of greater benefit to anyone for us not to work with the landlord,” he said.\u003c/p>\n\u003cp>Shannon Jackson declined multiple interview requests for this article. “We purchased the property with a specific mission about how we planned to use the space,” she wrote in an email. “Our goals for the Noodle Factory partnerships are to support arts and culture in the neighborhood the region, while also adhering to codes for health, fire and safety.”\u003c/p>\n\u003cp>Previous owners of the two-story building at 26th and Union streets harbored similar ambitions.\u003c/p>\n\u003cfigure id=\"attachment_13847685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg\" alt=\"The Northern California Land Trust spent millions renovating the building.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Northern California Land Trust spent millions renovating the building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dana Harrison, a financier-turned-Burning Man Project employee, bought the property in 1999, and it became a \u003ca href=\"https://www.eastbayexpress.com/oakland/noodling-around/Content?oid=1091408\">regular venue\u003c/a> for underground parties as well as a residence to as many as 30 people. Daunted by the task of bringing the 19,000 square foot building to code, though, she bequeathed it to the Northern California Land Trust in 2005.\u003c/p>\n\u003cp>The land trust spent millions renovating the building, converting it into 11 live-work condos in addition to the 2,000 square foot performance space with a mezzanine and offices. Using an affordable housing stewardship model, the land trust marketed the units to low-income artists who would benefit from the onsite rehearsal and performance space. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But the development \u003ca href=\"https://www.eastbayexpress.com/oakland/regaining-trust/Content?oid=2959560\">unraveled\u003c/a> after the subprime mortgage crisis, and in 2010 the property went into foreclosure. The land trust filed for bankruptcy, and in 2011 it sold the building to San Francisco real-estate firm Urban Green Investments. When Burnz leased the performance and office unit for Skyhigh in 2012, it was a neglected storage area. \u003c/p>\n\u003cp>Burnz, 35, whose given name is Laiya Baraka, landed in the Bay Area after traveling with a fire-eating troupe, and launched Skyhigh to accommodate her business as an instructor in aerial dancing and other circus arts. Early on, she redid the dilapidated floors and discarded truckloads of garbage. Eventually she subleased workspace to other artists.\u003c/p>\n\u003cp>Burnz got along with Urban Green. After three years, she signed a new lease, and the landlord installed a new kitchen. After the Jacksons bought the property last January for $3,730,000, Burnz was at first heartened to learn Shannon is a performing arts scholar. But the two of them never met. In a Mar. 1, 2018 email, a Lapham Company property manager told Burnz that the owners “are not interested in renewing your lease.”\u003c/p>\n\u003cfigure id=\"attachment_13847689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg\" alt=\"Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13847689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-Skyhigh-Odditorium-Founder-Sam-Lefebvre-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madamn Burnz now teaches out of shared studio near the former site of Skyhigh Odditorium. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burnz solicited dozens of letters of support for Skyhigh, but the owners weren’t persuaded. (The live-work tenants in other units weren’t affected by the transition.) She unsuccessfully tried to find a comparable, similarly affordable space for her business. As the end of her lease drew near, she sought an extension. Through a lawyer, Jackson offered an additional month—at twice the rent. Burnz declined, and moved out July 1.\u003c/p>\n\u003cp>CAST’s community engagement and real-estate development staff toured the building on Mar. 7, but Levin said they had misgivings about the situation, and told Jackson as well as Burnz that they weren’t going to be involved. “They needed to work it out,” he said.\u003c/p>\n\u003cp>But once Skyhigh was gone, he continued, CAST agreed to “consult on the imagining.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burnz only learned CAST was once again working with Jackson the night of the reimagining event in November, when she drove by and saw nonprofit staff talking to her former property managers outside the building. “I saw a balloon, and I was actually excited that someone had rented it for a party,” she said. “And then my heart sunk.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland officials introduced a restructured and expanded art grants program at a press conference Monday, delivering on changes envisioned in the city’s new Cultural Plan. The announcement came as city council prepares to approve \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">80 projects selected\u003c/a> for the first round of 2018 funding, totaling $1,136,253.\u003c/p>\n\u003cp>Initiatives in the expanded program include a residency program for artists to embed as creative problem-solvers within city agencies such as transportation or planning, as well as funds for nonprofits to partner with local cultural organizations on projects fostering neighborhood identity. The former will support 3-5 artists, with the duration and award figure to be determined. \u003c/p>\n\u003cp>The categories reflect proposals in the city’s Cultural Plan, “Belonging in Oakland,” a roadmap for the Cultural Funding Program under the leadership of poet and longtime arts administrator Roberto Bedoya, who \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">started\u003c/a> as the Oakland’s first-ever cultural affairs manager in September of 2016. \u003c/p>\n\u003cp>The plan, \u003ca href=\"https://www.kqed.org/forum/2010101864466/oakland-releases-plan-to-support-arts-residents-expressive-life\">Oakland’s first since 1988\u003c/a>, describes focusing Bedoya’s agency on the roots, and not merely the symptoms, of cultural erasure at a time of widespread displacement. “What’s paramount to this process and putting the plan together is to have a vision of cultural equity at the heart of what we do,” Bedoya said at the press conference. \u003c/p>\n\u003cp>The budget and infrastructure of the Cultural Affairs Unit, which funds projects by organizations as well as individual artists, dramatically downsized during the Great Recession. Oakland Mayor Libby Schaaf described today’s news as part of an agency rebound. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As we rebuilt our cultural arts program following the devastating cuts of the recession, we knew that we needed a leader who not only understood government arts programs, but was uniquely position to address the cultural needs of the city,” Schaaf said of Bedoya. \u003c/p>\n\u003cp>Groups such as the Oakland Creative Neighborhoods Coalition have in recent years pleaded for more robust cultural funding, \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-new-budget-whats-in-it-for-the-arts/Content?oid=7963862\">calling attention\u003c/a> to dwindling space and resources for local artists. According to a 2017 staff report, the number of applications to the individual artist project category has increased 50-60 percent since 2012, but the cultural plan notes Oakland’s inflation-adjusted grant-making budget is nearly half of what it was in 2001.\u003c/p>\n\u003cp>The first annual grants round overseen entirely by Bedoya, which Oakland’s city council is set to approve Monday, distributes $1.1 million to 70 artists and organizations. An additional $100,000 is earmarked for the residency and neighborhood-based programs, which have an application deadline of Dec. 15. The combined figure for both rounds—$1,236,253—is a nudge more than in recent years, reflecting onetime funds set aside by city council last summer.\u003c/p>\n\u003cp>Awardees in the most recent round include Spencer Wilkinson, who’s finishing a documentary centered on the downtown Universal Language mural; Eric Arnold, who’s researching a book and exhibition about Oakland’s boogaloo dance subculture; Josephine Lee, who oversees the Jazz on Sunday program at Golden Gate Library; and youth programs from organizations such as Hip-Hop for Change and Women’s Audio Mission. The staff report notes 16 percent of the 138 proposals came from first-time applicants. (See the \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">full list of awardees here\u003c/a>.)\u003c/p>\n\u003cp>Other initiatives in the Cultural Plan include overhauling “context-impervious” grant requirements such as insurance and full-time paid staff, which Bedoya said would be incorporated into the process next year, and securing permanent funding for the mayor’s policy director for art spaces, a position currently held by Kelley Kahn and backed by a two-year grant from the Oakland-based Kenneth Rainin Foundation. \u003c/p>\n\u003cp>Last June, Oakland’s city council also allocated $150,000 for Bedoya to hire a staffer to oversee recreating the defunct arts commission, which would add another peer-based layer to the grant-making process. Bedoya said he’s interviewing candidates for the role. The plan suggests that the process, which currently involves five steps, warrants “streamlining.”\u003c/p>\n\u003cp>The 119-page Cultural Plan, a draft of which appeared in March, incorporates feedback received at 14 community meetings, 450 responses to an online survey, and recommendations from the Artist Housing and Workspace task force convened in 2016. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Let us be clear,” Schaaf said on Monday. “The plan is over the finish line, but implementation is at the starting line.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland officials introduced a restructured and expanded art grants program at a press conference Monday, delivering on changes envisioned in the city’s new Cultural Plan. The announcement came as city council prepares to approve \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">80 projects selected\u003c/a> for the first round of 2018 funding, totaling $1,136,253.\u003c/p>\n\u003cp>Initiatives in the expanded program include a residency program for artists to embed as creative problem-solvers within city agencies such as transportation or planning, as well as funds for nonprofits to partner with local cultural organizations on projects fostering neighborhood identity. The former will support 3-5 artists, with the duration and award figure to be determined. \u003c/p>\n\u003cp>The categories reflect proposals in the city’s Cultural Plan, “Belonging in Oakland,” a roadmap for the Cultural Funding Program under the leadership of poet and longtime arts administrator Roberto Bedoya, who \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">started\u003c/a> as the Oakland’s first-ever cultural affairs manager in September of 2016. \u003c/p>\n\u003cp>The plan, \u003ca href=\"https://www.kqed.org/forum/2010101864466/oakland-releases-plan-to-support-arts-residents-expressive-life\">Oakland’s first since 1988\u003c/a>, describes focusing Bedoya’s agency on the roots, and not merely the symptoms, of cultural erasure at a time of widespread displacement. “What’s paramount to this process and putting the plan together is to have a vision of cultural equity at the heart of what we do,” Bedoya said at the press conference. \u003c/p>\n\u003cp>The budget and infrastructure of the Cultural Affairs Unit, which funds projects by organizations as well as individual artists, dramatically downsized during the Great Recession. Oakland Mayor Libby Schaaf described today’s news as part of an agency rebound. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As we rebuilt our cultural arts program following the devastating cuts of the recession, we knew that we needed a leader who not only understood government arts programs, but was uniquely position to address the cultural needs of the city,” Schaaf said of Bedoya. \u003c/p>\n\u003cp>Groups such as the Oakland Creative Neighborhoods Coalition have in recent years pleaded for more robust cultural funding, \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-new-budget-whats-in-it-for-the-arts/Content?oid=7963862\">calling attention\u003c/a> to dwindling space and resources for local artists. According to a 2017 staff report, the number of applications to the individual artist project category has increased 50-60 percent since 2012, but the cultural plan notes Oakland’s inflation-adjusted grant-making budget is nearly half of what it was in 2001.\u003c/p>\n\u003cp>The first annual grants round overseen entirely by Bedoya, which Oakland’s city council is set to approve Monday, distributes $1.1 million to 70 artists and organizations. An additional $100,000 is earmarked for the residency and neighborhood-based programs, which have an application deadline of Dec. 15. The combined figure for both rounds—$1,236,253—is a nudge more than in recent years, reflecting onetime funds set aside by city council last summer.\u003c/p>\n\u003cp>Awardees in the most recent round include Spencer Wilkinson, who’s finishing a documentary centered on the downtown Universal Language mural; Eric Arnold, who’s researching a book and exhibition about Oakland’s boogaloo dance subculture; Josephine Lee, who oversees the Jazz on Sunday program at Golden Gate Library; and youth programs from organizations such as Hip-Hop for Change and Women’s Audio Mission. The staff report notes 16 percent of the 138 proposals came from first-time applicants. (See the \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">full list of awardees here\u003c/a>.)\u003c/p>\n\u003cp>Other initiatives in the Cultural Plan include overhauling “context-impervious” grant requirements such as insurance and full-time paid staff, which Bedoya said would be incorporated into the process next year, and securing permanent funding for the mayor’s policy director for art spaces, a position currently held by Kelley Kahn and backed by a two-year grant from the Oakland-based Kenneth Rainin Foundation. \u003c/p>\n\u003cp>Last June, Oakland’s city council also allocated $150,000 for Bedoya to hire a staffer to oversee recreating the defunct arts commission, which would add another peer-based layer to the grant-making process. Bedoya said he’s interviewing candidates for the role. The plan suggests that the process, which currently involves five steps, warrants “streamlining.”\u003c/p>\n\u003cp>The 119-page Cultural Plan, a draft of which appeared in March, incorporates feedback received at 14 community meetings, 450 responses to an online survey, and recommendations from the Artist Housing and Workspace task force convened in 2016. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Let us be clear,” Schaaf said on Monday. “The plan is over the finish line, but implementation is at the starting line.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.arts.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> has announced more than a thousand grants to cultural organizations across the state this year. The $16.3 million in funds, announced Tuesday, will mostly go to support groups working with underserved communities.\u003c/p>\n\u003cp>“Our goal is to reach and to represent all of the citizens in the state of California,” says Anne Bown-Crawford, California Arts Council director. “I want to support as many historically marginalized communities as possible.”\u003c/p>\n\u003cp>Among the groups benefitting from this round of funding is \u003ca href=\"https://www.916ink.org/\" target=\"_blank\" rel=\"noopener\">916 Ink\u003c/a>, a creative writing nonprofit based in Sacramento. Development director Justin Self says the $45,000 his organization receives from the California Arts Council will provide writing workshops for at-risk and incarcerated youth.\u003c/p>\n\u003cp>“Without communication and literacy skills, these kids are essentially on a pathway from school to prison,” Self says. “We can take those kids that are most at risk of ending up in that situation and engage them in a program where they’re able to express themselves with honesty and authenticity, so they can process the trauma they’ve experienced.”\u003c/p>\n\u003cp>Self says 916 Ink has received California Arts Council funding for the past three years and that the funds are critical to his organization’s success.\u003c/p>\n\u003cfigure id=\"attachment_13834927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/TeatroVision1-800x533.jpg\" alt=\"Teatro Vision of San Jose is another group to receive funding this year from the California Arts Council.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Teatro Vision of San Jose is another group to receive funding this year from the California Arts Council. \u003ccite>(Photo: Courtesy of the California Arts Council.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Without these grants, it’s very likely that we would only be able to do maybe 10 or 20 percent of the amount of this work that we do,” Self says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A study commissioned by the \u003ca href=\"https://www.irvine.org/arts/learning/californias-arts-ecology\">Irvine Foundation\u003c/a> shows that California has 11,000 arts and culture nonprofits, placing the state ahead of most nations in the world.\u003c/p>\n\u003cp>The California Arts Council provides grants to around 6 percent — or roughly 700 organizations — of the total field each year, and to between 60 to 70 percent of applicants to its programs.\u003c/p>\n\u003cp>Yet according to 2018 data from the \u003ca href=\"https://nasaa-arts.org/\" target=\"_blank\" rel=\"noopener\">National Association of State Arts Agencies\u003c/a>, California ranks 38th in the United States for cultural funding, investing 46 cents per person in the arts. The national median is $1.03.\u003c/p>\n\u003cp>The relatively low ranking may improve in the coming months. The state arts funding budget is up by $1.3 million over last year. And, in an unusual move a few weeks ago, Gov. Jerry Brown proposed boosting the state arts budget by a further $5 million.Since then, thanks to calls for additional funds from the legislature, that number could be as high as $10 million next year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It is my goal to keep the ranking rising,” Bown-Crawford says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.arts.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> has announced more than a thousand grants to cultural organizations across the state this year. The $16.3 million in funds, announced Tuesday, will mostly go to support groups working with underserved communities.\u003c/p>\n\u003cp>“Our goal is to reach and to represent all of the citizens in the state of California,” says Anne Bown-Crawford, California Arts Council director. “I want to support as many historically marginalized communities as possible.”\u003c/p>\n\u003cp>Among the groups benefitting from this round of funding is \u003ca href=\"https://www.916ink.org/\" target=\"_blank\" rel=\"noopener\">916 Ink\u003c/a>, a creative writing nonprofit based in Sacramento. Development director Justin Self says the $45,000 his organization receives from the California Arts Council will provide writing workshops for at-risk and incarcerated youth.\u003c/p>\n\u003cp>“Without communication and literacy skills, these kids are essentially on a pathway from school to prison,” Self says. “We can take those kids that are most at risk of ending up in that situation and engage them in a program where they’re able to express themselves with honesty and authenticity, so they can process the trauma they’ve experienced.”\u003c/p>\n\u003cp>Self says 916 Ink has received California Arts Council funding for the past three years and that the funds are critical to his organization’s success.\u003c/p>\n\u003cfigure id=\"attachment_13834927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/TeatroVision1-800x533.jpg\" alt=\"Teatro Vision of San Jose is another group to receive funding this year from the California Arts Council.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/TeatroVision1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Teatro Vision of San Jose is another group to receive funding this year from the California Arts Council. \u003ccite>(Photo: Courtesy of the California Arts Council.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Without these grants, it’s very likely that we would only be able to do maybe 10 or 20 percent of the amount of this work that we do,” Self says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A study commissioned by the \u003ca href=\"https://www.irvine.org/arts/learning/californias-arts-ecology\">Irvine Foundation\u003c/a> shows that California has 11,000 arts and culture nonprofits, placing the state ahead of most nations in the world.\u003c/p>\n\u003cp>The California Arts Council provides grants to around 6 percent — or roughly 700 organizations — of the total field each year, and to between 60 to 70 percent of applicants to its programs.\u003c/p>\n\u003cp>Yet according to 2018 data from the \u003ca href=\"https://nasaa-arts.org/\" target=\"_blank\" rel=\"noopener\">National Association of State Arts Agencies\u003c/a>, California ranks 38th in the United States for cultural funding, investing 46 cents per person in the arts. The national median is $1.03.\u003c/p>\n\u003cp>The relatively low ranking may improve in the coming months. The state arts funding budget is up by $1.3 million over last year. And, in an unusual move a few weeks ago, Gov. Jerry Brown proposed boosting the state arts budget by a further $5 million.Since then, thanks to calls for additional funds from the legislature, that number could be as high as $10 million next year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It is my goal to keep the ranking rising,” Bown-Crawford says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last year, for its 50th anniversary, the Hewlett Foundation announced an ambitious endeavor: \u003ca href=\"https://www.hewlett.org/50commissions/\" rel=\"noopener\" target=\"_blank\">The Hewlett 50 Arts Commissions\u003c/a>, a five-year, $8 million initiative to fund 50 exceptional works of art in various disciplines through 2021. Each year of the initiative is dedicated to a different discipline (last year’s was music) and this year, the foundation is offering 10 separate grants of $150,000 each for projects in theater, musical theater, and spoken word. \u003c/p>\n\u003cp>The catch is that individual artists may not apply; instead, the \u003ca href=\"https://www.hewlett.org/apply-hewlett-50-arts-commission/\" rel=\"noopener\" target=\"_blank\">application\u003c/a> is open to nonprofits in eleven Bay Area counties (Alameda, Contra Costa, Marin, Monterey, Napa, San Francisco, San Mateo, Santa Clara, Santa Cruz, Solano, and Sonoma), who then partner with artists to sponsor their specific projects. The nonprofit — which doesn’t necessarily have to be an arts organization — is responsible for managing the project, commissioning the artist, writing the letter of inquiry required to start the application process, and developing the full proposal if they make it to the second round. The deadline to submit a letter of inquiry is April 20. On Jan. 30, there’s a \u003ca href=\"https://register.gotowebinar.com/register/1880784296410115329\" rel=\"noopener\" target=\"_blank\">webinar\u003c/a> for potential applicants. \u003c/p>\n\u003cp>If 2017’s recipients show us anything, it’s that the Hewlett Foundation prizes works that engage with the social issues of our times. Last year’s \u003ca href=\"https://ww2.kqed.org/arts/2017/11/14/bay-area-artists-receiving-millions-from-two-national-foundations/\" rel=\"noopener\" target=\"_blank\">10 grant recipients\u003c/a> included Terence Blanchard, whom the Kronos Quartet commissioned for a piece on race relations in America; DJ Spooky, who worked with the Internet Archive to create an “acoustic portrait of the internet” incorporating chamber music and digital art; and Huang Ruo, whom the Del Sol String Quartet commissioned to create a bilingual oratorio inspired by the poetry of immigrants detained under the Chinese Exclusion Act. \u003c/p>\n\u003cp>And if you’re not a playwright, director, or spoken word artist? Fear not. The 2019 grant is for dance and multi-discipline performance art; 2020 is slated for folk and traditional arts; and 2021 is dedicated to film and media. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" 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\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, for its 50th anniversary, the Hewlett Foundation announced an ambitious endeavor: \u003ca href=\"https://www.hewlett.org/50commissions/\" rel=\"noopener\" target=\"_blank\">The Hewlett 50 Arts Commissions\u003c/a>, a five-year, $8 million initiative to fund 50 exceptional works of art in various disciplines through 2021. Each year of the initiative is dedicated to a different discipline (last year’s was music) and this year, the foundation is offering 10 separate grants of $150,000 each for projects in theater, musical theater, and spoken word. \u003c/p>\n\u003cp>The catch is that individual artists may not apply; instead, the \u003ca href=\"https://www.hewlett.org/apply-hewlett-50-arts-commission/\" rel=\"noopener\" target=\"_blank\">application\u003c/a> is open to nonprofits in eleven Bay Area counties (Alameda, Contra Costa, Marin, Monterey, Napa, San Francisco, San Mateo, Santa Clara, Santa Cruz, Solano, and Sonoma), who then partner with artists to sponsor their specific projects. The nonprofit — which doesn’t necessarily have to be an arts organization — is responsible for managing the project, commissioning the artist, writing the letter of inquiry required to start the application process, and developing the full proposal if they make it to the second round. The deadline to submit a letter of inquiry is April 20. On Jan. 30, there’s a \u003ca href=\"https://register.gotowebinar.com/register/1880784296410115329\" rel=\"noopener\" target=\"_blank\">webinar\u003c/a> for potential applicants. \u003c/p>\n\u003cp>If 2017’s recipients show us anything, it’s that the Hewlett Foundation prizes works that engage with the social issues of our times. Last year’s \u003ca href=\"https://ww2.kqed.org/arts/2017/11/14/bay-area-artists-receiving-millions-from-two-national-foundations/\" rel=\"noopener\" target=\"_blank\">10 grant recipients\u003c/a> included Terence Blanchard, whom the Kronos Quartet commissioned for a piece on race relations in America; DJ Spooky, who worked with the Internet Archive to create an “acoustic portrait of the internet” incorporating chamber music and digital art; and Huang Ruo, whom the Del Sol String Quartet commissioned to create a bilingual oratorio inspired by the poetry of immigrants detained under the Chinese Exclusion Act. \u003c/p>\n\u003cp>And if you’re not a playwright, director, or spoken word artist? Fear not. The 2019 grant is for dance and multi-discipline performance art; 2020 is slated for folk and traditional arts; and 2021 is dedicated to film and media. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" 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\u003cp>\u003c/p>\u003c/div>",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"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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"meta": {
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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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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"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/",
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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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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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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",
"title": "Hidden Brain",
"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": {
"id": "how-i-built-this",
"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",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"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
},
"link": "/podcasts/hyphenacion",
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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/",
"meta": {
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"source": "npr"
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"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",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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