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"title": "San Francisco Mime Troupe Celebrates 60 Years with 'Treasure Island'",
"headTitle": "San Francisco Mime Troupe Celebrates 60 Years with ‘Treasure Island’ | KQED",
"content": "\u003cp>To celebrate our holidays, religious or secular, we frequently rely on tradition to guide us. Whether it’s dreidel for Chanukah, dyed eggs (or drag queens) for Easter, or lion dancing for the Lunar New Year, tradition acts as a framework holding a disparate group of people together. And any given holiday might generate different traditions for different systems of belief: Thanksgiving could mean a big family meal, a chance to shop for bargain electronics, a chance to buy nothing, or a chance to reflect on Native American rights.\u003c/p>\n\u003cp>For many Bay Area residents, the Fourth of July means opening day for the San Francisco Mime Troupe’s summer touring season.\u003c/p>\n\u003cp>Belying the fog that will later roll in and obscure the fireworks, the sky is often blue and bright for the Mime Troupe’s opening day. The crowd really begins to trickle in around noon, and by the 2pm showtime, the hillside facing the tennis courts on 18th Street is full of bodies. Young bodies, older bodies, multiracial bodies. Child bodies and dog bodies. Folks circulate through the crowd with petitions, pamphlets, programs. As I always do, I feel as if I know at least a quarter of the attendees—if not as friends, then as reputations. Organizers and educators. Actors and artists. Union members and cooperative workers. A great deal of time at a Mime Troupe show is spent in greeting folks whom I maybe haven’t seen since last year’s show. Frequently there is relief in the greeting—a “you’re-still-here-and-I’m-still-here-therefore-we-are-all-still-here” kind of acknowledgement. It’s all part of the ritual. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg\" alt=\"(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe's 'Treasure Island.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13860907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Mime Troupe has had plenty of time to cultivate its July Fourth tradition, considering that this summer marks their 60th anniversary—some 57 of which have been spent in public parks. In the 70s, when the NEA still funded tours, they criss-crossed the country with their left-wing messaging, garnering a handful of Obies and a Tony along the way. Collectively run since 1970, the Mime Troupe publicly committed themselves to being racially diverse in 1974 and multi-generational in the nineties, long before “\u003ca href=\"https://www.acronymfinder.com/Equality%2C-Diversity-and-Inclusion-(EDI).html\" rel=\"noopener\" target=\"_blank\">EDI\u003c/a>” became a \u003ca href=\"http://lort.org/who-we-are\" rel=\"noopener\" target=\"_blank\">LORT\u003c/a> buzzword, and their current membership actively reflects it.\u003c/p>\n\u003cp>Theirs is a specific kind of success story, one proving that it’s possible to run a company well into the 21st century with collective principles and leftist ideals. A company where people stay for two, three, or 30 years—and each get an equal vote. A company whose commitment to not taking corporate money, and reliance on on-again, off-again NEA funding has kept it in a perpetual state of brokeness for decades. A company whose commitment to touring still takes them to some very unlikely hamlets—Nevada City, Davis, San Jose—despite not having the means to travel the Midwest as in earlier decades. A company whose current audience comes as much for the experience of being their audience as they do for the actual show. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico is not that kind of mime in San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Mime Troupe, who still have to add to their swag the tagline “not that kind of mime,” actually specialize in flamboyant verbosity mixed with music. They frequently take on a single issue and attempt to flesh it out with a mix of slapstick, wonk-splaining, and showtunes. Their flexible, able cast performs multiple roles with quick costume changes and a willing suspension of disbelief on the part of the audience, and for every issue they bring to the forefront, there are a dozen others that feel equally urgent crowding behind the scenes. This inability to respond in the moment to every pressing cause can sometimes make a Mime Troupe show feel behind the times, even when they’re addressing very current concerns. It’s less street theater, and more theater-that-is-performed-on-the-streets, and in this way they are as constricted by their chosen script as any more conventional theater performed indoors might be.\u003c/p>\n\u003cfigure id=\"attachment_13860910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg\" alt=\"\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Heading to Treasure Island with Keiko Shimsoto Carreiro, Lizzie Calogero, and Brian Rivera. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show, \u003cem>Treasure Island,\u003c/em> written and directed by multiple members, is no different in that regard. They take to task San Francisco’s love affair with developers, in this production likened to pirates, complete with “arrrghs,” frilly shirts, callbacks to Robert Louis Stevenson’s high-seas adventure tale, and a great, Carla Pantoja-choreographed sword fight. And although the crowd initially can’t decide if it’s supposed to cheer or boo the first development referenced in the play—high-rise condos at 16th and Valencia (hint, you boo)—they soon come around to the Mime Troupe’s POV, as a whole slew of injustices are revealed in the greater fight for affordable housing, mostly on and off our very own Treasure Island.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s especially interesting about this storyline is that because it’s a messy, complex situation with no real happy ending in sight, the Mime Troupe have to focus instead on a lightweight redemption arc for their sprightly lead character, Jill Hawkins (Lizzie Calogero).\u003c/p>\n\u003cfigure id=\"attachment_13860909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860909\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg\" alt=\"\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzie Calogero and Michael Gene Sullivan in the San Francisco Mime Troupe’s Treasure Island. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs are mostly forgettable. Lines are delivered at two volumes, loud and louder. Double-takes are cartoonishly underscored with a slide whistle. At one point two characters bicker over who will deliver the backstory. There’s a lot to deliver.\u003c/p>\n\u003cp>But unlike an evening at the “theater,” the Mime Troupe experience is far more organically interactive. Folks laugh, cheer, and hiss. There’s spontaneous and not-so spontaneous applause throughout. A couple of my companions provide a running commentary of radicalized snark. And at the end, the crowd’s standing ovation feels not so much a celebration of the particular show, but a celebration of the Mime Troupe experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13860908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Standing ovation for the San Francisco Mime Troupe’s Treasure Island. Yes, that is a lot of tie-dye. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often accused of preaching to the choir, the Mime Troupe of today is probably not in the running for any more Tony awards. But no one goes to Midnight Mass or the Sisters of Perpetual Indulgence Easter celebration and accuses them of preaching to the choir—even though that is literally what they are doing. Sometimes the ritual demands that we perform it in the presence of our chosen congregation, one that willingly chooses to participate. Sure, maybe it would be nice to convert a few extra souls along the way. But if you’re going to a Mime Troupe show—just as with the Hunky Jesus competition—you probably already know what you’re going to get. And that’s exactly why you go. Tradition.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The San Francisco Mime Troupe’s ‘Treasure Island’ runs through Sept. 8 at 15 different cities around Northern California. \u003ca href=\"http://www.sfmt.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A tradition 60 years strong, the San Francisco Mime Troupe's Fourth of July show always draws a crowd.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To celebrate our holidays, religious or secular, we frequently rely on tradition to guide us. Whether it’s dreidel for Chanukah, dyed eggs (or drag queens) for Easter, or lion dancing for the Lunar New Year, tradition acts as a framework holding a disparate group of people together. And any given holiday might generate different traditions for different systems of belief: Thanksgiving could mean a big family meal, a chance to shop for bargain electronics, a chance to buy nothing, or a chance to reflect on Native American rights.\u003c/p>\n\u003cp>For many Bay Area residents, the Fourth of July means opening day for the San Francisco Mime Troupe’s summer touring season.\u003c/p>\n\u003cp>Belying the fog that will later roll in and obscure the fireworks, the sky is often blue and bright for the Mime Troupe’s opening day. The crowd really begins to trickle in around noon, and by the 2pm showtime, the hillside facing the tennis courts on 18th Street is full of bodies. Young bodies, older bodies, multiracial bodies. Child bodies and dog bodies. Folks circulate through the crowd with petitions, pamphlets, programs. As I always do, I feel as if I know at least a quarter of the attendees—if not as friends, then as reputations. Organizers and educators. Actors and artists. Union members and cooperative workers. A great deal of time at a Mime Troupe show is spent in greeting folks whom I maybe haven’t seen since last year’s show. Frequently there is relief in the greeting—a “you’re-still-here-and-I’m-still-here-therefore-we-are-all-still-here” kind of acknowledgement. It’s all part of the ritual. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg\" alt=\"(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe's 'Treasure Island.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13860907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Mime Troupe has had plenty of time to cultivate its July Fourth tradition, considering that this summer marks their 60th anniversary—some 57 of which have been spent in public parks. In the 70s, when the NEA still funded tours, they criss-crossed the country with their left-wing messaging, garnering a handful of Obies and a Tony along the way. Collectively run since 1970, the Mime Troupe publicly committed themselves to being racially diverse in 1974 and multi-generational in the nineties, long before “\u003ca href=\"https://www.acronymfinder.com/Equality%2C-Diversity-and-Inclusion-(EDI).html\" rel=\"noopener\" target=\"_blank\">EDI\u003c/a>” became a \u003ca href=\"http://lort.org/who-we-are\" rel=\"noopener\" target=\"_blank\">LORT\u003c/a> buzzword, and their current membership actively reflects it.\u003c/p>\n\u003cp>Theirs is a specific kind of success story, one proving that it’s possible to run a company well into the 21st century with collective principles and leftist ideals. A company where people stay for two, three, or 30 years—and each get an equal vote. A company whose commitment to not taking corporate money, and reliance on on-again, off-again NEA funding has kept it in a perpetual state of brokeness for decades. A company whose commitment to touring still takes them to some very unlikely hamlets—Nevada City, Davis, San Jose—despite not having the means to travel the Midwest as in earlier decades. A company whose current audience comes as much for the experience of being their audience as they do for the actual show. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico is not that kind of mime in San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Mime Troupe, who still have to add to their swag the tagline “not that kind of mime,” actually specialize in flamboyant verbosity mixed with music. They frequently take on a single issue and attempt to flesh it out with a mix of slapstick, wonk-splaining, and showtunes. Their flexible, able cast performs multiple roles with quick costume changes and a willing suspension of disbelief on the part of the audience, and for every issue they bring to the forefront, there are a dozen others that feel equally urgent crowding behind the scenes. This inability to respond in the moment to every pressing cause can sometimes make a Mime Troupe show feel behind the times, even when they’re addressing very current concerns. It’s less street theater, and more theater-that-is-performed-on-the-streets, and in this way they are as constricted by their chosen script as any more conventional theater performed indoors might be.\u003c/p>\n\u003cfigure id=\"attachment_13860910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg\" alt=\"\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Heading to Treasure Island with Keiko Shimsoto Carreiro, Lizzie Calogero, and Brian Rivera. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show, \u003cem>Treasure Island,\u003c/em> written and directed by multiple members, is no different in that regard. They take to task San Francisco’s love affair with developers, in this production likened to pirates, complete with “arrrghs,” frilly shirts, callbacks to Robert Louis Stevenson’s high-seas adventure tale, and a great, Carla Pantoja-choreographed sword fight. And although the crowd initially can’t decide if it’s supposed to cheer or boo the first development referenced in the play—high-rise condos at 16th and Valencia (hint, you boo)—they soon come around to the Mime Troupe’s POV, as a whole slew of injustices are revealed in the greater fight for affordable housing, mostly on and off our very own Treasure Island.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s especially interesting about this storyline is that because it’s a messy, complex situation with no real happy ending in sight, the Mime Troupe have to focus instead on a lightweight redemption arc for their sprightly lead character, Jill Hawkins (Lizzie Calogero).\u003c/p>\n\u003cfigure id=\"attachment_13860909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860909\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg\" alt=\"\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzie Calogero and Michael Gene Sullivan in the San Francisco Mime Troupe’s Treasure Island. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs are mostly forgettable. Lines are delivered at two volumes, loud and louder. Double-takes are cartoonishly underscored with a slide whistle. At one point two characters bicker over who will deliver the backstory. There’s a lot to deliver.\u003c/p>\n\u003cp>But unlike an evening at the “theater,” the Mime Troupe experience is far more organically interactive. Folks laugh, cheer, and hiss. There’s spontaneous and not-so spontaneous applause throughout. A couple of my companions provide a running commentary of radicalized snark. And at the end, the crowd’s standing ovation feels not so much a celebration of the particular show, but a celebration of the Mime Troupe experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13860908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Standing ovation for the San Francisco Mime Troupe’s Treasure Island. Yes, that is a lot of tie-dye. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often accused of preaching to the choir, the Mime Troupe of today is probably not in the running for any more Tony awards. But no one goes to Midnight Mass or the Sisters of Perpetual Indulgence Easter celebration and accuses them of preaching to the choir—even though that is literally what they are doing. Sometimes the ritual demands that we perform it in the presence of our chosen congregation, one that willingly chooses to participate. Sure, maybe it would be nice to convert a few extra souls along the way. But if you’re going to a Mime Troupe show—just as with the Hunky Jesus competition—you probably already know what you’re going to get. And that’s exactly why you go. Tradition.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Mime Troupe’s ‘Treasure Island’ runs through Sept. 8 at 15 different cities around Northern California. \u003ca href=\"http://www.sfmt.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "NEA Jazz Masters Announced; Tribute Concert Coming to San Francisco | KQED",
"content": "\u003cp>The National Endowment for the Arts (NEA) on Tuesday announced the honorees of its \u003ca href=\"https://www.arts.gov/news/2019/national-endowment-arts-announces-2020-nea-jazz-masters\" target=\"_blank\" rel=\"noopener\">2020 Jazz Masters Fellowship\u003c/a>, a grant of up to $25,000 reserved for the genre’s boundary-pushers, innovators and advocates. Two of the four selected musicians have deep ties to the Bay Area.\u003c/p>\n\u003cp>Saxophonist Roscoe Mitchell, who was key to the formation of Chicago’s avant-garde jazz scene in the ’60s with the Art Ensemble of Chicago, served as one of Mills College’s most renowned faculty members in Oakland \u003ca href=\"https://www.kqed.org/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs\" target=\"_blank\" rel=\"noopener\">until his recent retirement\u003c/a>. And Bobby McFerrin, best known for the novelty pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco and even once guest-conducted the San Francisco Symphony.\u003c/p>\n\u003cp>The Jazz Masters Fellows are nominated by the public and selected by a panel of industry professionals. Previous recipients have included Ella Fitzgerald, Sonny Rollins and Miles Davis, and the NEA \u003ca href=\"https://www.arts.gov/honors/jazz\" target=\"_blank\" rel=\"noopener\">documents\u003c/a> honorees’ careers online through podcasts, videos and other multimedia. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>“The 2020 NEA Jazz Masters have made an incredible impact on jazz, whether it’s through their artistic work to expand the musical boundaries of the genre, their educational contributions, or their efforts to reach new audiences for jazz,” said Acting Chairman of the Arts Endowment Mary Anne Carter in a statement.\u003c/p>\n\u003cp>In addition, the NEA celebrates this year’s honorees with a \u003ca href=\"https://www.sfjazz.org/tickets/events/2020-jazz-masters-tribute-concert/\" target=\"_blank\" rel=\"noopener\">free tribute concert\u003c/a> at SFJAZZ on April 2, 2020—the first time the Jazz Masters Fellowship concert has taken place in the Bay Area since 2005. Tickets will become available in February 2020, and there will also be a live stream of the concert.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Endowment for the Arts (NEA) on Tuesday announced the honorees of its \u003ca href=\"https://www.arts.gov/news/2019/national-endowment-arts-announces-2020-nea-jazz-masters\" target=\"_blank\" rel=\"noopener\">2020 Jazz Masters Fellowship\u003c/a>, a grant of up to $25,000 reserved for the genre’s boundary-pushers, innovators and advocates. Two of the four selected musicians have deep ties to the Bay Area.\u003c/p>\n\u003cp>Saxophonist Roscoe Mitchell, who was key to the formation of Chicago’s avant-garde jazz scene in the ’60s with the Art Ensemble of Chicago, served as one of Mills College’s most renowned faculty members in Oakland \u003ca href=\"https://www.kqed.org/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs\" target=\"_blank\" rel=\"noopener\">until his recent retirement\u003c/a>. And Bobby McFerrin, best known for the novelty pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco and even once guest-conducted the San Francisco Symphony.\u003c/p>\n\u003cp>The Jazz Masters Fellows are nominated by the public and selected by a panel of industry professionals. Previous recipients have included Ella Fitzgerald, Sonny Rollins and Miles Davis, and the NEA \u003ca href=\"https://www.arts.gov/honors/jazz\" target=\"_blank\" rel=\"noopener\">documents\u003c/a> honorees’ careers online through podcasts, videos and other multimedia. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>“The 2020 NEA Jazz Masters have made an incredible impact on jazz, whether it’s through their artistic work to expand the musical boundaries of the genre, their educational contributions, or their efforts to reach new audiences for jazz,” said Acting Chairman of the Arts Endowment Mary Anne Carter in a statement.\u003c/p>\n\u003cp>In addition, the NEA celebrates this year’s honorees with a \u003ca href=\"https://www.sfjazz.org/tickets/events/2020-jazz-masters-tribute-concert/\" target=\"_blank\" rel=\"noopener\">free tribute concert\u003c/a> at SFJAZZ on April 2, 2020—the first time the Jazz Masters Fellowship concert has taken place in the Bay Area since 2005. Tickets will become available in February 2020, and there will also be a live stream of the concert.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Due to Government Shutdown, California Humanities Suspends All Arts Grants",
"headTitle": "Due to Government Shutdown, California Humanities Suspends All Arts Grants | KQED",
"content": "\u003cp>Last year, California Humanities issued more than $1 million in grants to artists and cultural organizations.\u003c/p>\n\u003cp>But now, the National Endowment for the Humanities’ state partner has suspended grant-making indefinitely as the historic federal government shutdown nears its sixth week. \u003c/p>\n\u003cp>The independent nonprofit, which has offices in Oakland and Los Angeles, is operating on an “austerity basis,” CEO Julie Fry told KQED, unable to release even already awarded grants. \u003c/p>\n\u003cp>In the final two months of 2018, \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a> awarded more than 30 grants totaling approximately $350,000. But the release of the funds, in some cases expected to occur this month, is now delayed. Likewise, interim and final payments of earlier grants are on pause until further notice.\u003c/p>\n\u003cfigure id=\"attachment_13824382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg\" alt=\"Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida. \u003ccite>(Joe Raedle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We will resume payments as soon as the government reopens, the federal budget is approved, and the NEH recommences payments to the state humanities councils,” Fry told grant recipients and hopefuls in an email sent on Friday. “At this point, we are unsure how long this process will take.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fry said the National Endowment for the Humanities (NEH) contributes a “significant portion” of California Humanities’ grant-making budget. Last year California Humanities awarded just over $1,030,000 to 98 projects statewide in categories such as documentary filmmaking and library innovation. Now, though, the organization is pausing even travel and office expenses. \u003c/p>\n\u003cp>“We’re making do with what paper towels we already have,” Fry said. \u003c/p>\n\u003cfigure id=\"attachment_13849282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg\" alt=\"Museum of the African Diaspora\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13849282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Museum of the African Diaspora. \u003ccite>(Courtesy of the Museum of the African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the country, the National Gallery of Art as well as 19 Smithsonian museums are closed due to the shutdown. Their employees are among an estimated 800,000 federal workers furloughed or otherwise deprived of at least one paycheck during the holiday season. \u003c/p>\n\u003cp>The government shutdown, now the longest in history as President Donald Trump demands billions for a southern border wall that he’d promised Mexico would pay for, has also shuttered both the national endowments for the arts and humanities, which together disburse nearly $300 million nationwide each year. \u003c/p>\n\u003cp>For Bay Area artists and cultural nonprofits reliant on the national endowments, either directly or through state-level groups such as the California Arts Council and California Humanities, the shutdown has destabilized an already precarious ecosystem. (A spokesperson for the California Arts Council said the shutdown has yet to impact its grant-making, noting that the agency plans to issue 2019 awards at the end of June.) Yet even if the government reboots tomorrow, arts figures tell KQED, the consequences will be felt for the rest of the year.\u003c/p>\n\u003cp>The shutdown is also a reminder of Trump’s threats to \u003ca href=\"https://www.kqed.org/arts/12649417/report-trump-administration-plans-to-privatize-cpb-cut-nea\" rel=\"noopener\" target=\"_blank\">cut the national endowments altogether\u003c/a>. Last year, the NEA issued \u003ca href=\"https://www.kqed.org/arts/13831888/nea-awards-1-7-million-in-grants-to-bay-area-organizations\" rel=\"noopener\" target=\"_blank\">$1.7 million to Bay Area arts groups\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13848854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg\" alt=\"Kronos Quartet.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Wojciech Wandzel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For small to medium-size arts organizations such as the Kronos Quartet’s Kronos Performing Arts Association, the NEA shutdown is a major source of anxiety. Kronos development manager Mason Dille said he doesn’t know when to expect reimbursement for NEA-supported projects, and his agency contacts simply aren’t at work to field questions. “Any delay in the application process now might impact the work we are able to do far into the 2019-20 season,” he said. \u003c/p>\n\u003cp>NEA workers aren’t just funders—they’re researchers and advocates with a nationwide mandate, often providing resources to remote or disinvested areas. Dille pointed out that agency staff couldn’t participate in several major annual arts conferences this month, calling it a “missed opportunity that will resonate across the country for the entire year.” \u003c/p>\n\u003cp>James Leventhal, interim director and chief development officer at Smithsonian affiliate Museum of the African Diaspora, said he hasn’t heard from his furloughed national colleagues for the past three weeks. As a Smithsonian affiliate, MoAD is one of some 200 resource-sharing museums. So the lack of communication could jeopardize events such as a mid-February concert for local middle-school students featuring the Smithsonian Museum Jazz Masterworks Orchestra.\u003c/p>\n\u003cp>Leventhal also stressed the geographic scope of the national endowments. “When you hear about the real work of the NEA, that real work is about making sure culture is reaching every single corner of this nation,” he said, likening the agencies’ shutdown to a “moratorium on culture.” \u003c/p>\n\u003cfigure id=\"attachment_13849287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg\" alt=\"The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13849287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area. \u003ccite>(Museums of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the national endowments are still accepting grant applications, organization leaders can’t communicate with the agencies as deadlines near, and the ultimate effect on processing time is unclear. “I’m working on a NEA grant and we’re concerned that the Feb. 5 deadline for filing is quickly approaching,” said Jeff Nathanson, executive director of Museums of Sonoma County.\u003c/p>\n\u003cp>And Eric Stanley, Museums of Sonoma County’s associate director and curator of history, said preparation for an upcoming “Pacific World”-themed exhibition has nearly ground to a halt. “Two of the main archives I had been talking to about lending objects and collaborating on the exhibition were SF Maritime Museum and Point Reyes, both national parks,” he said. “Unfortunately it looks like the shutdown will completely prevent me from working with either.” \u003c/p>\n\u003cp>At the bottom line, the national endowment shutdown is interrupting cash flow, especially for nonprofits with little reserves. Roberto Bedoya, Oakland’s cultural affairs manager, said last year the NEA supported his department’s development of the city’s Cultural Plan, sending a check within a month of receiving his invoice. \u003c/p>\n\u003cp>“Now that’s not happening,” Bedoya said, adding that some nonprofits in the Bay Area, with its astronomical overhead, are a grant or two away from folding. \u003c/p>\n\u003cp>“Especially for marginalized communities, rural communities—the shutdown is part of this administration’s larger disinvestment in the public good,” Bedoya said. “As we knew, arts and culture aren’t their priority.” \u003c/p>\n\u003cfigure id=\"attachment_13849285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg\" alt=\""The shutdown is part of this administration’s larger disinvestment in the public good," says Roberto Bedoya, Oakland's cultural affairs manager.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The shutdown is part of this administration’s larger disinvestment in the public good,” says Roberto Bedoya, Oakland’s cultural affairs manager. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The national endowments, like the southern border wall, have themselves been points of federal budgeting contention for Trump. In both 2017 and 2018, Trump \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">proposed eliminating the agencies entirely\u003c/a> before Congress intervened. The NEA and NEH are a minuscule fraction of the budget, and governments of most developed countries vastly outspend the United States on arts and culture.\u003c/p>\n\u003cp>At this point, Fry said, the subject of elimination feels unsurprising. “It comes up on a cyclical basis—cultural agencies are on the table,” she said. On the other hand, Congress recently proposed raising the allocation to the National Endowment for the Humanities, subject to Trump’s signature. \u003c/p>\n\u003cp>“We’ll have to wait for the president’s approval of that when the government reopens,” Fry said. \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=\"aligncenter 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 floatright]\u003c/p>\n\u003cp>\u003cem>KQED’s Sarah Hotchkiss, Gabe Meline, Nastia Voynovskaya and Chloe Veltman contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, California Humanities issued more than $1 million in grants to artists and cultural organizations.\u003c/p>\n\u003cp>But now, the National Endowment for the Humanities’ state partner has suspended grant-making indefinitely as the historic federal government shutdown nears its sixth week. \u003c/p>\n\u003cp>The independent nonprofit, which has offices in Oakland and Los Angeles, is operating on an “austerity basis,” CEO Julie Fry told KQED, unable to release even already awarded grants. \u003c/p>\n\u003cp>In the final two months of 2018, \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a> awarded more than 30 grants totaling approximately $350,000. But the release of the funds, in some cases expected to occur this month, is now delayed. Likewise, interim and final payments of earlier grants are on pause until further notice.\u003c/p>\n\u003cfigure id=\"attachment_13824382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg\" alt=\"Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida. \u003ccite>(Joe Raedle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We will resume payments as soon as the government reopens, the federal budget is approved, and the NEH recommences payments to the state humanities councils,” Fry told grant recipients and hopefuls in an email sent on Friday. “At this point, we are unsure how long this process will take.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fry said the National Endowment for the Humanities (NEH) contributes a “significant portion” of California Humanities’ grant-making budget. Last year California Humanities awarded just over $1,030,000 to 98 projects statewide in categories such as documentary filmmaking and library innovation. Now, though, the organization is pausing even travel and office expenses. \u003c/p>\n\u003cp>“We’re making do with what paper towels we already have,” Fry said. \u003c/p>\n\u003cfigure id=\"attachment_13849282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg\" alt=\"Museum of the African Diaspora\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13849282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Museum of the African Diaspora. \u003ccite>(Courtesy of the Museum of the African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the country, the National Gallery of Art as well as 19 Smithsonian museums are closed due to the shutdown. Their employees are among an estimated 800,000 federal workers furloughed or otherwise deprived of at least one paycheck during the holiday season. \u003c/p>\n\u003cp>The government shutdown, now the longest in history as President Donald Trump demands billions for a southern border wall that he’d promised Mexico would pay for, has also shuttered both the national endowments for the arts and humanities, which together disburse nearly $300 million nationwide each year. \u003c/p>\n\u003cp>For Bay Area artists and cultural nonprofits reliant on the national endowments, either directly or through state-level groups such as the California Arts Council and California Humanities, the shutdown has destabilized an already precarious ecosystem. (A spokesperson for the California Arts Council said the shutdown has yet to impact its grant-making, noting that the agency plans to issue 2019 awards at the end of June.) Yet even if the government reboots tomorrow, arts figures tell KQED, the consequences will be felt for the rest of the year.\u003c/p>\n\u003cp>The shutdown is also a reminder of Trump’s threats to \u003ca href=\"https://www.kqed.org/arts/12649417/report-trump-administration-plans-to-privatize-cpb-cut-nea\" rel=\"noopener\" target=\"_blank\">cut the national endowments altogether\u003c/a>. Last year, the NEA issued \u003ca href=\"https://www.kqed.org/arts/13831888/nea-awards-1-7-million-in-grants-to-bay-area-organizations\" rel=\"noopener\" target=\"_blank\">$1.7 million to Bay Area arts groups\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13848854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg\" alt=\"Kronos Quartet.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Wojciech Wandzel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For small to medium-size arts organizations such as the Kronos Quartet’s Kronos Performing Arts Association, the NEA shutdown is a major source of anxiety. Kronos development manager Mason Dille said he doesn’t know when to expect reimbursement for NEA-supported projects, and his agency contacts simply aren’t at work to field questions. “Any delay in the application process now might impact the work we are able to do far into the 2019-20 season,” he said. \u003c/p>\n\u003cp>NEA workers aren’t just funders—they’re researchers and advocates with a nationwide mandate, often providing resources to remote or disinvested areas. Dille pointed out that agency staff couldn’t participate in several major annual arts conferences this month, calling it a “missed opportunity that will resonate across the country for the entire year.” \u003c/p>\n\u003cp>James Leventhal, interim director and chief development officer at Smithsonian affiliate Museum of the African Diaspora, said he hasn’t heard from his furloughed national colleagues for the past three weeks. As a Smithsonian affiliate, MoAD is one of some 200 resource-sharing museums. So the lack of communication could jeopardize events such as a mid-February concert for local middle-school students featuring the Smithsonian Museum Jazz Masterworks Orchestra.\u003c/p>\n\u003cp>Leventhal also stressed the geographic scope of the national endowments. “When you hear about the real work of the NEA, that real work is about making sure culture is reaching every single corner of this nation,” he said, likening the agencies’ shutdown to a “moratorium on culture.” \u003c/p>\n\u003cfigure id=\"attachment_13849287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg\" alt=\"The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13849287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area. \u003ccite>(Museums of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the national endowments are still accepting grant applications, organization leaders can’t communicate with the agencies as deadlines near, and the ultimate effect on processing time is unclear. “I’m working on a NEA grant and we’re concerned that the Feb. 5 deadline for filing is quickly approaching,” said Jeff Nathanson, executive director of Museums of Sonoma County.\u003c/p>\n\u003cp>And Eric Stanley, Museums of Sonoma County’s associate director and curator of history, said preparation for an upcoming “Pacific World”-themed exhibition has nearly ground to a halt. “Two of the main archives I had been talking to about lending objects and collaborating on the exhibition were SF Maritime Museum and Point Reyes, both national parks,” he said. “Unfortunately it looks like the shutdown will completely prevent me from working with either.” \u003c/p>\n\u003cp>At the bottom line, the national endowment shutdown is interrupting cash flow, especially for nonprofits with little reserves. Roberto Bedoya, Oakland’s cultural affairs manager, said last year the NEA supported his department’s development of the city’s Cultural Plan, sending a check within a month of receiving his invoice. \u003c/p>\n\u003cp>“Now that’s not happening,” Bedoya said, adding that some nonprofits in the Bay Area, with its astronomical overhead, are a grant or two away from folding. \u003c/p>\n\u003cp>“Especially for marginalized communities, rural communities—the shutdown is part of this administration’s larger disinvestment in the public good,” Bedoya said. “As we knew, arts and culture aren’t their priority.” \u003c/p>\n\u003cfigure id=\"attachment_13849285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg\" alt=\""The shutdown is part of this administration’s larger disinvestment in the public good," says Roberto Bedoya, Oakland's cultural affairs manager.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The shutdown is part of this administration’s larger disinvestment in the public good,” says Roberto Bedoya, Oakland’s cultural affairs manager. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The national endowments, like the southern border wall, have themselves been points of federal budgeting contention for Trump. In both 2017 and 2018, Trump \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">proposed eliminating the agencies entirely\u003c/a> before Congress intervened. The NEA and NEH are a minuscule fraction of the budget, and governments of most developed countries vastly outspend the United States on arts and culture.\u003c/p>\n\u003cp>At this point, Fry said, the subject of elimination feels unsurprising. “It comes up on a cyclical basis—cultural agencies are on the table,” she said. On the other hand, Congress recently proposed raising the allocation to the National Endowment for the Humanities, subject to Trump’s signature. \u003c/p>\n\u003cp>“We’ll have to wait for the president’s approval of that when the government reopens,” Fry said. \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=\"aligncenter 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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Sarah Hotchkiss, Gabe Meline, Nastia Voynovskaya and Chloe Veltman contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nea-awards-1-7-million-in-grants-to-bay-area-organizations",
"title": "NEA Awards $1.7 Million in Grants to Bay Area Organizations",
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"content": "\u003cp>The National Endowment for the Arts (NEA) announced Wednesday the awarding of \u003ca href=\"http://arts.ca.gov/news/prdetail.php?id=262\" rel=\"noopener\" target=\"_blank\">$5.2 million in grants\u003c/a> to arts organizations in California, with $1,668,500 of that funding specifically earmarked for Bay Area groups.\u003c/p>\n\u003cp>Less than two months after Congress passed a $1.3 trillion spending bill that — in defiance of the \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">Trump administration’s wishes\u003c/a> — increased the NEA’s budget to $153 million, the organization publicized its \u003ca href=\"https://www.arts.gov/news/2018/national-endowment-arts-announces-grants-support-arts-and-innovation-across-country\" rel=\"noopener\" target=\"_blank\">grant recipients for fiscal year 2018\u003c/a>.\u003c/p>\n\u003cp>In total, the NEA is awarding $81.76 million in grants to 1,071 recipients across the nation. This year, 144 of those winners are in California, and about 60 are in the Bay Area. Among the notable local awardees are the Filipino-American Development Foundation (FADF), which will receive $100,000 for developing a Pilipinas Cultural District in San Francisco’s SOMA neighborhood; and Youth Speaks, Inc., which will receive $100,000 for a spoken-word performance called \u003cem>The Bigger Picture\u003c/em>.\u003c/p>\n\u003cp>Noticeably absent from the list of recipients is the \u003ca href=\"http://www.sfmt.org/donate/appeal.php\" rel=\"noopener\" target=\"_blank\">SF Mime Troupe\u003c/a>. The Tony Award-winning political theater group learned in November of last year that it lost its federal funding following negative coverage from the Alt-Right news site, \u003ca href=\"https://www.kqed.org/arts/13595888/breitbart-mime-troupe-freakout-tests-nea-funding-assumptions\" rel=\"noopener\" target=\"_blank\">Breitbart\u003c/a>. Before then, the troupe had received NEA grants ranging from $15,000-$50,000 almost every year since 1998, which it used for its summer programs. \u003c/p>\n\u003cp>The California Arts Council, the state agency supporting the arts, will receive $1,155,300 for its work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since Congress established the independent federal agency in 1965, the NEA has awarded more than $5 billion in grants for various arts-related projects. \u003c/p>\n\u003cp>Below is a list of this year’s grant recipients in the Bay Area. It should be noted that some of these grant amounts could change.\u003c/p>\n\u003cp>\u003cstrong>826 National\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support 826 Digital, an online platform for educators.\u003c/p>\n\u003cp>\u003cstrong>Abada-Capoeira San Francisco\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support a capoeira residency and performance program for students in San Francisco-area schools.\u003c/p>\n\u003cp>\u003cstrong>Alonzo King LINES Ballet\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and world premiere of a ballet by Alonzo King, in collaboration with the Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Asian American Women Artists Association (aka AAWAA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support the Asian American Women Arts Resource Initiative.\u003c/p>\n\u003cp>\u003cstrong>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/strong>\u003cbr>\n$90,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the program staff, travel, lodging and honoraria expenses associated with the National MediaMaker Fellows Program, dedicated to fostering the careers of nonfiction media artists.\u003c/p>\n\u003cp>\u003cstrong>Center for Asian American Media (aka CAAM)\u003c/strong>\u003cbr>\n$26,500 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the strengthening and development of a peer network and strategic infrastructure for Asian American documentary filmmakers working in the American South.\u003c/p>\n\u003cp>\u003cstrong>City and County of San Francisco, California (on behalf of WritersCorps)\u003c/strong>\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support San Francisco WritersCorps, a creative writing program focused on youth from underserved communities.\u003c/p>\n\u003cp>\u003cstrong>Crowded Fire Theater Company (aka Crowded Fire)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a collaboration with the hip-hop orchestra Ensemble Mik NaWooj (EMN), to create a cross- disciplinary, participatory workshop performance.\u003c/p>\n\u003cp>\u003cstrong>Dancers’ Group\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support \u003cem>In Dance\u003c/em>, a free print and online monthly publication that promotes dance artists and activities in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Epiphany Productions Sonic Dance Theater (aka Epiphany Dance Theater)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support San Francisco Trolley Dances in its 15th anniversary year.\u003c/p>\n\u003cp>\u003cstrong>Filipino-American Development Foundation\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support public art planning and initial project development for the SOMA Pilipinas Cultural District.\u003c/p>\n\u003cp>\u003cstrong>Fresh Meat Productions\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support engagement activities during a national tour of “Boys in Trouble,” by choreographer Sean Dorsey.\u003c/p>\n\u003cp>\u003cstrong>Global Fund For Women Inc.\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support production, post-production, and outreach for a short documentary film series directed by Sharmeen Obaid-Chinoy.\u003c/p>\n\u003cp>\u003cstrong>Independent Television Service, Inc. (aka ITVS)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the selection, acquisition, packaging, and promotion of films for the public television series “Independent Lens.”\u003c/p>\n\u003cp>\u003cstrong>Jess Curtis/Gravity, Inc.\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support artist fees for the creation and presentation of a new dance work by choreographer Jess Curtis about sight and perception.\u003c/p>\n\u003cp>\u003cstrong>Joe Goode Performance Group\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of a new dance work about safe havens, by choreographer Joe Goode.\u003c/p>\n\u003cp>\u003cstrong>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the production of “The Keepers,” a podcast and multimedia series.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support Kronos Quartet’s development and implementation of free online resources for music education.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Fifty for the Future, a commissioning and education project by Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation of Forty-Five Years, a new work by Margaret Jenkins.\u003c/p>\n\u003cp>\u003cstrong>MEDIATE Art Group (aka Soundwave)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works To support the Soundwave Biennial.\u003c/p>\n\u003cp>\u003cstrong>Merola Opera Program\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support a professional training program for singers, apprentice coaches, and an apprentice stage director.\u003c/p>\n\u003cp>\u003cstrong>Museum of Performance & Design (aka Museum of Performance + Design)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the digitization of videotapes of live theater performances documenting theater in the San Francisco Bay Area from 1976 to 2001.\u003c/p>\n\u003cp>\u003cstrong>Queer Women of Color Media Arts Project (aka QWOCMAP)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the workshop instruction, travel costs and workshop expenses associated to the Filmmaker Training Program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Arts Education Project (aka SFArtsED)\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support an exhibition “The Living Legacy of Ruth Asawa (1926-2013): Artist, Educator, Activist.”\u003c/p>\n\u003cp>\u003cstrong>San Francisco Ballet Association (aka San Francisco Ballet)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of new ballets and a company premiere.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Chanticleer, Inc. (aka Chanticleer)\u003c/strong>\u003cbr>\n$55,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Chanticleer’s national concert tour and residency program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Contemporary Music Players (aka SFCMP)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support “Stranger in a Strange Land,” a weekend of music events showcasing the performance of a new work by composer Michael Gordon inspired by Angel Island in the San Francisco Bay.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Dance Film Festival Inc (aka SFDFF)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the San Francisco Dance Film Festival.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Friends of Chamber Music\u003c/strong>\u003cbr>\n$12,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the annual SFMusic Day of chamber music performances.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Performances, Inc.\u003c/strong>\u003cbr>\n$21,500 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support a music performance presenting project.\u003c/p>\n\u003cp>\u003cstrong>San Francisco State University (aka SFSU)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support The Poetry Center’s reading series.\u003c/p>\n\u003cp>\u003cstrong>SEW Productions, Inc. (aka Lorraine Hansberry Theatre)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the Lorraine Hansberry Theatre’s production of “Unintended Consequences: The Final Days of Negro- Ville,” by Keith Josef Adkins.\u003c/p>\n\u003cp>\u003cstrong>Shakespeare – San Francisco (aka San Francisco Shakespeare Festival)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the San Francisco Shakespeare Festival’s Free Shakespeare in the Park production of “As You Like It.”\u003c/p>\n\u003cp>\u003cstrong>Smuin Ballets-SF (aka Smuin Ballet)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the presentation of dance works as part of the company’s 25th anniversary season.\u003c/p>\n\u003cp>\u003cstrong>Theatre Bay Area (aka TBA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a new Equity, Diversity, and Inclusion (EDI) training program for a cohort of Bay Area theaters.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nResearch: Art Works — Research\u003cbr>\nTo support a national study that examines how parks are integrating the arts as strategies to strengthen communities.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support the development of a creative placemaking toolkit for city and county health agencies, a Knowledge Building project.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support performing arts workshops and a community design process for improving parks and open spaces in Camden, New Jersey.\u003c/p>\n\u003cp>\u003cstrong>Yerba Buena Center for the Arts (aka YBCA)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of exhibitions, performances, and films.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support \u003cem>The Bigger Picture\u003c/em>, a spoken word performance program presented in partnership with the University of California San Francisco Center for Vulnerable Populations.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support the Brave New Voices Festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Society for the Preservation of Traditional Music, Inc. (aka Freight & Salvage)\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support The Freight & Salvage: Playing with Tradition music festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Symphony Orchestra (aka Berkeley Symphony)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the Music in the Schools initiative.\u003c/p>\n\u003cp>\u003cstrong>California Shakespeare Theater (aka Cal Shakes)\u003c/strong>\u003cbr>\n$30,000 Berkeley, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the regional premiere of “Everybody,” written by Branden Jacobs-Jenkins.\u003c/p>\n\u003cp>\u003cstrong>David Brower Center\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support an arts education program connecting high school students with Bay Area artists.\u003c/p>\n\u003cp>\u003cstrong>Gamelan Sekar Jaya\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Folk & Traditional Arts\u003cbr>\nTo support artist residencies with master artists from Bali, Indonesia.\u003c/p>\n\u003cp>\u003cstrong>Kala Institute\u003c/strong>\u003cbr>\n$22,500 Berkeley, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support an artist-in-residence program for media artists.\u003c/p>\n\u003cp>\u003cstrong>La Pena Cultural Center, Inc.\u003c/strong>\u003cbr>\n$25,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a multidisciplinary performing arts series.\u003c/p>\n\u003cp>\u003cstrong>Luna Kids Dance (aka Luna Dance Institute)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA Art Works — Arts Education\u003cbr>\nTo support professional development activities.\u003c/p>\n\u003cp>\u003cstrong>National Novel Writing Month (aka NaNoWriMo)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support a redesign of the National Novel Writing Month website.\u003c/p>\n\u003cp>\u003cstrong>Regents of the University of California at Berkeley (on behalf of Cal Performances)\u003c/strong>\u003cbr>\n$35,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support an artist-in-residence project by the London-based Philharmonia Orchestra at Cal Performances.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>\u003cbr>\n$10,000 Berkeley, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support performances of “Mata Hari” by composer Matt Marks and librettist Paul Peers.\u003c/p>\n\u003cp>\u003cstrong>Cantare Con Vivo\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support the Children’s Choirs of Oakland program.\u003c/p>\n\u003cp>\u003cstrong>Crosspulse\u003c/strong>\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the development, creation, and production of a multigenerational, collaborative Body Music performance and interactive production, PASS IT DOWN.\u003c/p>\n\u003cp>\u003cstrong>Dimensions Dance Theater, Inc.\u003c/strong>\u003cbr>\n$25,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the Rites of Passage dance education program for youth.\u003c/p>\n\u003cp>\u003cstrong>Friends of Peralta Hacienda Historical Park (aka Peralta Hacienda)\u003c/strong>\u003cbr>\n$56,000 Oakland, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support the design, creation, and dissemination of art works that will reflect the stories of day laborers, a partnership with Street Level Health Project.\u003c/p>\n\u003cp>\u003cstrong>International Society for the Arts, Sciences and Technology (aka Leonardo/ISAST)\u003c/strong>\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support residencies for artists and scientists.\u003c/p>\n\u003cp>\u003cstrong>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Evening Star, a project based on Eastern European folk and spiritual traditions.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Purple Silk Music Education Foundation, Inc. (aka Purple Silk Music Education Foundation)\u003c/strong>\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support a year-long intensive music instruction program for youth.\u003c/p>\n\n",
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"excerpt": "Among the recipients are Youth Speaks and Filipino-American Development Foundation. Not on the list? The SF Mime Troupe.",
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"title": "NEA Awards $1.7 Million in Grants to Bay Area Organizations | KQED",
"description": "Among the recipients are Youth Speaks and Filipino-American Development Foundation. Not on the list? The SF Mime Troupe.",
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"headline": "NEA Awards $1.7 Million in Grants to Bay Area Organizations",
"datePublished": "2018-05-10T16:07:03-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Endowment for the Arts (NEA) announced Wednesday the awarding of \u003ca href=\"http://arts.ca.gov/news/prdetail.php?id=262\" rel=\"noopener\" target=\"_blank\">$5.2 million in grants\u003c/a> to arts organizations in California, with $1,668,500 of that funding specifically earmarked for Bay Area groups.\u003c/p>\n\u003cp>Less than two months after Congress passed a $1.3 trillion spending bill that — in defiance of the \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">Trump administration’s wishes\u003c/a> — increased the NEA’s budget to $153 million, the organization publicized its \u003ca href=\"https://www.arts.gov/news/2018/national-endowment-arts-announces-grants-support-arts-and-innovation-across-country\" rel=\"noopener\" target=\"_blank\">grant recipients for fiscal year 2018\u003c/a>.\u003c/p>\n\u003cp>In total, the NEA is awarding $81.76 million in grants to 1,071 recipients across the nation. This year, 144 of those winners are in California, and about 60 are in the Bay Area. Among the notable local awardees are the Filipino-American Development Foundation (FADF), which will receive $100,000 for developing a Pilipinas Cultural District in San Francisco’s SOMA neighborhood; and Youth Speaks, Inc., which will receive $100,000 for a spoken-word performance called \u003cem>The Bigger Picture\u003c/em>.\u003c/p>\n\u003cp>Noticeably absent from the list of recipients is the \u003ca href=\"http://www.sfmt.org/donate/appeal.php\" rel=\"noopener\" target=\"_blank\">SF Mime Troupe\u003c/a>. The Tony Award-winning political theater group learned in November of last year that it lost its federal funding following negative coverage from the Alt-Right news site, \u003ca href=\"https://www.kqed.org/arts/13595888/breitbart-mime-troupe-freakout-tests-nea-funding-assumptions\" rel=\"noopener\" target=\"_blank\">Breitbart\u003c/a>. Before then, the troupe had received NEA grants ranging from $15,000-$50,000 almost every year since 1998, which it used for its summer programs. \u003c/p>\n\u003cp>The California Arts Council, the state agency supporting the arts, will receive $1,155,300 for its work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since Congress established the independent federal agency in 1965, the NEA has awarded more than $5 billion in grants for various arts-related projects. \u003c/p>\n\u003cp>Below is a list of this year’s grant recipients in the Bay Area. It should be noted that some of these grant amounts could change.\u003c/p>\n\u003cp>\u003cstrong>826 National\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support 826 Digital, an online platform for educators.\u003c/p>\n\u003cp>\u003cstrong>Abada-Capoeira San Francisco\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support a capoeira residency and performance program for students in San Francisco-area schools.\u003c/p>\n\u003cp>\u003cstrong>Alonzo King LINES Ballet\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and world premiere of a ballet by Alonzo King, in collaboration with the Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Asian American Women Artists Association (aka AAWAA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support the Asian American Women Arts Resource Initiative.\u003c/p>\n\u003cp>\u003cstrong>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/strong>\u003cbr>\n$90,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the program staff, travel, lodging and honoraria expenses associated with the National MediaMaker Fellows Program, dedicated to fostering the careers of nonfiction media artists.\u003c/p>\n\u003cp>\u003cstrong>Center for Asian American Media (aka CAAM)\u003c/strong>\u003cbr>\n$26,500 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the strengthening and development of a peer network and strategic infrastructure for Asian American documentary filmmakers working in the American South.\u003c/p>\n\u003cp>\u003cstrong>City and County of San Francisco, California (on behalf of WritersCorps)\u003c/strong>\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support San Francisco WritersCorps, a creative writing program focused on youth from underserved communities.\u003c/p>\n\u003cp>\u003cstrong>Crowded Fire Theater Company (aka Crowded Fire)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a collaboration with the hip-hop orchestra Ensemble Mik NaWooj (EMN), to create a cross- disciplinary, participatory workshop performance.\u003c/p>\n\u003cp>\u003cstrong>Dancers’ Group\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support \u003cem>In Dance\u003c/em>, a free print and online monthly publication that promotes dance artists and activities in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Epiphany Productions Sonic Dance Theater (aka Epiphany Dance Theater)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support San Francisco Trolley Dances in its 15th anniversary year.\u003c/p>\n\u003cp>\u003cstrong>Filipino-American Development Foundation\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support public art planning and initial project development for the SOMA Pilipinas Cultural District.\u003c/p>\n\u003cp>\u003cstrong>Fresh Meat Productions\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support engagement activities during a national tour of “Boys in Trouble,” by choreographer Sean Dorsey.\u003c/p>\n\u003cp>\u003cstrong>Global Fund For Women Inc.\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support production, post-production, and outreach for a short documentary film series directed by Sharmeen Obaid-Chinoy.\u003c/p>\n\u003cp>\u003cstrong>Independent Television Service, Inc. (aka ITVS)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the selection, acquisition, packaging, and promotion of films for the public television series “Independent Lens.”\u003c/p>\n\u003cp>\u003cstrong>Jess Curtis/Gravity, Inc.\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support artist fees for the creation and presentation of a new dance work by choreographer Jess Curtis about sight and perception.\u003c/p>\n\u003cp>\u003cstrong>Joe Goode Performance Group\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of a new dance work about safe havens, by choreographer Joe Goode.\u003c/p>\n\u003cp>\u003cstrong>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the production of “The Keepers,” a podcast and multimedia series.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support Kronos Quartet’s development and implementation of free online resources for music education.\u003c/p>\n\u003cp>\u003cstrong>Kronos Performing Arts Association (aka Kronos Quartet)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Fifty for the Future, a commissioning and education project by Kronos Quartet.\u003c/p>\n\u003cp>\u003cstrong>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation of Forty-Five Years, a new work by Margaret Jenkins.\u003c/p>\n\u003cp>\u003cstrong>MEDIATE Art Group (aka Soundwave)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works To support the Soundwave Biennial.\u003c/p>\n\u003cp>\u003cstrong>Merola Opera Program\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support a professional training program for singers, apprentice coaches, and an apprentice stage director.\u003c/p>\n\u003cp>\u003cstrong>Museum of Performance & Design (aka Museum of Performance + Design)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the digitization of videotapes of live theater performances documenting theater in the San Francisco Bay Area from 1976 to 2001.\u003c/p>\n\u003cp>\u003cstrong>Queer Women of Color Media Arts Project (aka QWOCMAP)\u003c/strong>\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support the workshop instruction, travel costs and workshop expenses associated to the Filmmaker Training Program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Arts Education Project (aka SFArtsED)\u003c/strong>\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works — Visual Arts\u003cbr>\nTo support an exhibition “The Living Legacy of Ruth Asawa (1926-2013): Artist, Educator, Activist.”\u003c/p>\n\u003cp>\u003cstrong>San Francisco Ballet Association (aka San Francisco Ballet)\u003c/strong>\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the creation and presentation of new ballets and a company premiere.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Chanticleer, Inc. (aka Chanticleer)\u003c/strong>\u003cbr>\n$55,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Chanticleer’s national concert tour and residency program.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Contemporary Music Players (aka SFCMP)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support “Stranger in a Strange Land,” a weekend of music events showcasing the performance of a new work by composer Michael Gordon inspired by Angel Island in the San Francisco Bay.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Dance Film Festival Inc (aka SFDFF)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the San Francisco Dance Film Festival.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Friends of Chamber Music\u003c/strong>\u003cbr>\n$12,000 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the annual SFMusic Day of chamber music performances.\u003c/p>\n\u003cp>\u003cstrong>San Francisco Performances, Inc.\u003c/strong>\u003cbr>\n$21,500 San Francisco, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support a music performance presenting project.\u003c/p>\n\u003cp>\u003cstrong>San Francisco State University (aka SFSU)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support The Poetry Center’s reading series.\u003c/p>\n\u003cp>\u003cstrong>SEW Productions, Inc. (aka Lorraine Hansberry Theatre)\u003c/strong>\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the Lorraine Hansberry Theatre’s production of “Unintended Consequences: The Final Days of Negro- Ville,” by Keith Josef Adkins.\u003c/p>\n\u003cp>\u003cstrong>Shakespeare – San Francisco (aka San Francisco Shakespeare Festival)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the San Francisco Shakespeare Festival’s Free Shakespeare in the Park production of “As You Like It.”\u003c/p>\n\u003cp>\u003cstrong>Smuin Ballets-SF (aka Smuin Ballet)\u003c/strong>\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the presentation of dance works as part of the company’s 25th anniversary season.\u003c/p>\n\u003cp>\u003cstrong>Theatre Bay Area (aka TBA)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support a new Equity, Diversity, and Inclusion (EDI) training program for a cohort of Bay Area theaters.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nResearch: Art Works — Research\u003cbr>\nTo support a national study that examines how parks are integrating the arts as strategies to strengthen communities.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support the development of a creative placemaking toolkit for city and county health agencies, a Knowledge Building project.\u003c/p>\n\u003cp>\u003cstrong>Trust for Public Land (aka TPL)\u003c/strong>\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nOur Town — Design\u003cbr>\nTo support performing arts workshops and a community design process for improving parks and open spaces in Camden, New Jersey.\u003c/p>\n\u003cp>\u003cstrong>Yerba Buena Center for the Arts (aka YBCA)\u003c/strong>\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of exhibitions, performances, and films.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$100,000 San Francisco, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support \u003cem>The Bigger Picture\u003c/em>, a spoken word performance program presented in partnership with the University of California San Francisco Center for Vulnerable Populations.\u003c/p>\n\u003cp>\u003cstrong>Youth Speaks, Inc.\u003c/strong>\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support the Brave New Voices Festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Society for the Preservation of Traditional Music, Inc. (aka Freight & Salvage)\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support The Freight & Salvage: Playing with Tradition music festival.\u003c/p>\n\u003cp>\u003cstrong>Berkeley Symphony Orchestra (aka Berkeley Symphony)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support the Music in the Schools initiative.\u003c/p>\n\u003cp>\u003cstrong>California Shakespeare Theater (aka Cal Shakes)\u003c/strong>\u003cbr>\n$30,000 Berkeley, CA\u003cbr>\nArt Works — Theater\u003cbr>\nTo support the regional premiere of “Everybody,” written by Branden Jacobs-Jenkins.\u003c/p>\n\u003cp>\u003cstrong>David Brower Center\u003c/strong>\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support an arts education program connecting high school students with Bay Area artists.\u003c/p>\n\u003cp>\u003cstrong>Gamelan Sekar Jaya\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Folk & Traditional Arts\u003cbr>\nTo support artist residencies with master artists from Bali, Indonesia.\u003c/p>\n\u003cp>\u003cstrong>Kala Institute\u003c/strong>\u003cbr>\n$22,500 Berkeley, CA\u003cbr>\nArt Works — Media Arts\u003cbr>\nTo support an artist-in-residence program for media artists.\u003c/p>\n\u003cp>\u003cstrong>La Pena Cultural Center, Inc.\u003c/strong>\u003cbr>\n$25,000 Berkeley, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support a multidisciplinary performing arts series.\u003c/p>\n\u003cp>\u003cstrong>Luna Kids Dance (aka Luna Dance Institute)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA Art Works — Arts Education\u003cbr>\nTo support professional development activities.\u003c/p>\n\u003cp>\u003cstrong>National Novel Writing Month (aka NaNoWriMo)\u003c/strong>\u003cbr>\n$20,000 Berkeley, CA\u003cbr>\nArt Works — Literature\u003cbr>\nTo support a redesign of the National Novel Writing Month website.\u003c/p>\n\u003cp>\u003cstrong>Regents of the University of California at Berkeley (on behalf of Cal Performances)\u003c/strong>\u003cbr>\n$35,000 Berkeley, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support an artist-in-residence project by the London-based Philharmonia Orchestra at Cal Performances.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>\u003cbr>\n$10,000 Berkeley, CA\u003cbr>\nArt Works — Opera\u003cbr>\nTo support performances of “Mata Hari” by composer Matt Marks and librettist Paul Peers.\u003c/p>\n\u003cp>\u003cstrong>Cantare Con Vivo\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Arts Education\u003cbr>\nTo support the Children’s Choirs of Oakland program.\u003c/p>\n\u003cp>\u003cstrong>Crosspulse\u003c/strong>\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the development, creation, and production of a multigenerational, collaborative Body Music performance and interactive production, PASS IT DOWN.\u003c/p>\n\u003cp>\u003cstrong>Dimensions Dance Theater, Inc.\u003c/strong>\u003cbr>\n$25,000 Oakland, CA\u003cbr>\nArt Works — Dance\u003cbr>\nTo support the Rites of Passage dance education program for youth.\u003c/p>\n\u003cp>\u003cstrong>Friends of Peralta Hacienda Historical Park (aka Peralta Hacienda)\u003c/strong>\u003cbr>\n$56,000 Oakland, CA\u003cbr>\nCreativity Connects — Creativity Connects\u003cbr>\nTo support the design, creation, and dissemination of art works that will reflect the stories of day laborers, a partnership with Street Level Health Project.\u003c/p>\n\u003cp>\u003cstrong>International Society for the Arts, Sciences and Technology (aka Leonardo/ISAST)\u003c/strong>\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works — Presenting & Multidisciplinary Works\u003cbr>\nTo support residencies for artists and scientists.\u003c/p>\n\u003cp>\u003cstrong>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/strong>\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works — Music\u003cbr>\nTo support Evening Star, a project based on Eastern European folk and spiritual traditions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco Bay Area arts organizations celebrated a victory Monday after months of worry.\u003c/p>\n\u003cp>Today’s \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-nea-stopgap-budget-20170501-story.html\" target=\"_blank\" rel=\"noopener\">bipartisan Congressional agreement funding the government\u003c/a> for the rest of 2017 preserves the National Endowment for the Arts (NEA), the National Endowment for the Humanities (NEH), and other cultural agencies, despite \u003ca href=\"https://www.nytimes.com/2017/03/17/arts/nea-neh-trump-congress.html?_r=0\" target=\"_blank\" rel=\"noopener\">President Trump’s effort\u003c/a> to zero out their budgets and kill the agencies.\u003c/p>\n\u003cp>In fact, the Republican-controlled Congress increased funding for the NEA and the NEH by $2 million each, to $150 million dollars.\u003c/p>\n\u003cfigure id=\"attachment_12969686\" class=\"wp-caption alignright\" style=\"max-width: 316px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12969686 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778.jpg\" alt=\"Californians for the Arts Board Member Brad Erickson\" width=\"316\" height=\"263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778.jpg 316w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778-240x200.jpg 240w\" sizes=\"(max-width: 316px) 100vw, 316px\">\u003cfigcaption class=\"wp-caption-text\">Californians for the Arts Board Member Brad Erickson. \u003ccite>(Courtesy California Arts Advocates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Just got this update from Americans for the Arts,” wrote \u003ca href=\"http://www.theatrebayarea.org/?page=WhoWeAre\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> Executive Director Brad Erickson in an email. “Astounding.”\u003c/p>\n\u003cp>Erickson, a board member for \u003ca href=\"https://californiansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Californians for the Arts\u003c/a>, led a team of artists and arts administrators on a lobbying trip to Washington on Arts Advocacy Day in March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I have to think that all the advocacy is what made the difference,” Erickson said in an phone interview. “More than 700 people lobbied in Washington this year, and staff for members of Congress said they got an astounding amount of emails and letters supporting funding for the arts.”\u003c/p>\n\u003cp>California arts groups split a total of roughly nine million dollars last year from the NEA.\u003c/p>\n\u003cfigure id=\"attachment_11505992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11505992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/008-e1461025134129-800x457.jpg\" alt=\"Disabled dancers are made very welcome at the monthly Community Dance Jams at AXIS Dance in Oakland\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-1920x1097.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-960x548.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Disabled dancers are made very welcome at the monthly Community Dance Jams at AXIS Dance in Oakland. \u003ccite>(Photo: Cy Musiker/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s \u003ca href=\"http://www.axisdance.org/\" target=\"_blank\" rel=\"noopener\">Axis Dance Company\u003c/a> receives about $20,000 each year from the NEA for outreach to the disabled community. Director Judith Smith said she’s relieved about the news. “But the thing we all have to remember,” she added, “is not to get complacent. Because the funding is there now, but don’t think the attacks are going to stop. Because they won’t.”\u003c/p>\n\u003cp>Smith thinks President Trump will try to kill the NEA and other cultural agencies again when negotiations begin this fall for the 2018 fiscal year.\u003c/p>\n\u003cp>Erickson agreed with that prediction. “We’re on to the next battle,” he said. “But it’s encouraging to be where we are today.”\u003c/p>\n\u003cp>\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Bay Area arts organizations celebrated a victory Monday after months of worry.\u003c/p>\n\u003cp>Today’s \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-nea-stopgap-budget-20170501-story.html\" target=\"_blank\" rel=\"noopener\">bipartisan Congressional agreement funding the government\u003c/a> for the rest of 2017 preserves the National Endowment for the Arts (NEA), the National Endowment for the Humanities (NEH), and other cultural agencies, despite \u003ca href=\"https://www.nytimes.com/2017/03/17/arts/nea-neh-trump-congress.html?_r=0\" target=\"_blank\" rel=\"noopener\">President Trump’s effort\u003c/a> to zero out their budgets and kill the agencies.\u003c/p>\n\u003cp>In fact, the Republican-controlled Congress increased funding for the NEA and the NEH by $2 million each, to $150 million dollars.\u003c/p>\n\u003cfigure id=\"attachment_12969686\" class=\"wp-caption alignright\" style=\"max-width: 316px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12969686 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778.jpg\" alt=\"Californians for the Arts Board Member Brad Erickson\" width=\"316\" height=\"263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778.jpg 316w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Brad-Erickson-e1493692042778-240x200.jpg 240w\" sizes=\"(max-width: 316px) 100vw, 316px\">\u003cfigcaption class=\"wp-caption-text\">Californians for the Arts Board Member Brad Erickson. \u003ccite>(Courtesy California Arts Advocates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Just got this update from Americans for the Arts,” wrote \u003ca href=\"http://www.theatrebayarea.org/?page=WhoWeAre\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> Executive Director Brad Erickson in an email. “Astounding.”\u003c/p>\n\u003cp>Erickson, a board member for \u003ca href=\"https://californiansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Californians for the Arts\u003c/a>, led a team of artists and arts administrators on a lobbying trip to Washington on Arts Advocacy Day in March.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have to think that all the advocacy is what made the difference,” Erickson said in an phone interview. “More than 700 people lobbied in Washington this year, and staff for members of Congress said they got an astounding amount of emails and letters supporting funding for the arts.”\u003c/p>\n\u003cp>California arts groups split a total of roughly nine million dollars last year from the NEA.\u003c/p>\n\u003cfigure id=\"attachment_11505992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11505992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/008-e1461025134129-800x457.jpg\" alt=\"Disabled dancers are made very welcome at the monthly Community Dance Jams at AXIS Dance in Oakland\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-1920x1097.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/008-e1461025134129-960x548.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Disabled dancers are made very welcome at the monthly Community Dance Jams at AXIS Dance in Oakland. \u003ccite>(Photo: Cy Musiker/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s \u003ca href=\"http://www.axisdance.org/\" target=\"_blank\" rel=\"noopener\">Axis Dance Company\u003c/a> receives about $20,000 each year from the NEA for outreach to the disabled community. Director Judith Smith said she’s relieved about the news. “But the thing we all have to remember,” she added, “is not to get complacent. Because the funding is there now, but don’t think the attacks are going to stop. Because they won’t.”\u003c/p>\n\u003cp>Smith thinks President Trump will try to kill the NEA and other cultural agencies again when negotiations begin this fall for the 2018 fiscal year.\u003c/p>\n\u003cp>Erickson agreed with that prediction. “We’re on to the next battle,” he said. “But it’s encouraging to be where we are today.”\u003c/p>\n\u003cp>\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the official release of President Trump’s proposed budget on Thursday, arts leaders in California weren’t surprised to see the elimination of the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a> (NEA) and the \u003ca href=\"https://www.neh.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Humanities \u003c/a>(NEH) among the cuts. But that doesn’t mean they’re not worried about the survival of dozens of arts programs across the state, many of them serving immigrant and poor communities.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“It’s a significant blow,” says California Arts Council director Craig Watson. “Our fear is that even a loss of modest funding will have a ripple effect through local neighborhoods, and the neighborhoods that are least able to afford those losses.”\u003c/p>\n\u003cp>Watson says individual grants aren’t that large. In total, the NEA split $7.8 million among 119 grantees in California this year (2016-2017), while another $1.2 million went to the California Arts Council. But grantees have to match every dollar from other donors, in part to demonstrate public support for their programming or artworks. Groups say they can leverage an NEA grant nine times.\u003c/p>\n\u003cp>The Alliance for California Traditional Arts (ACTA) received $120,000 from the NEA last year, and the group stretched that money to support the work of everyone from Ohlone basket weavers to producers of Vietnamese opera and Cowboy poets.\u003c/p>\n\u003cfigure id=\"attachment_12911339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12911339 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg\" alt=\"Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez. \u003ccite>(Photo: Courtesy California Arts Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the thing that really is alarming about eliminating this agency,” says ACTA director Amy Kitchener. “There really is a fragile ecosystem for the arts in this country.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cuts could also mean more empty galleries at museums. The NEA underwrites temporary insurance for artwork in traveling exhibitions, an often otherwise prohibitive cost even for larger museums.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (SFMOMA) director Neal Benezra says the museum couldn’t have co-curated its current \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">\u003cem>Matisse/Diebenkorn\u003c/em> \u003c/a>show without NEA support, seeing as paintings by Matisse are valued in the \u003ca href=\"http://www.independent.co.uk/arts-entertainment/art/matisse-sets-new-49-million-dollar-record-in-new-york-2126992.html\" target=\"_blank\" rel=\"noopener\">millions and tens of millions of dollars\u003c/a>. “For many of our visitors,” Benezra wrote in an email, “these exhibitions represent the only opportunity in their lifetimes to enjoy and learn from these important works and the artists who created them.”\u003c/p>\n\u003cfigure id=\"attachment_12876000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12876000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg\" alt=\"Matisse's Goldfish and Palette next to Diebenkorn's Urbana #5- showing the affinities between the two artists in a show at SFMOMA\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matisse’s ‘Goldfish and Palette’ next to Diebenkorn’s ‘Urbana #5’ — showing the affinities between the two artists in a show at SFMOMA. \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>President Trump has also proposed eliminating the \u003ca href=\"https://www.imls.gov/\" target=\"_blank\" rel=\"noopener\">Institute for Museum and Library Science\u003c/a>, which helped fund SFMOMA’s new Photography Interpretive Gallery.\u003c/p>\n\u003cp>The same fate would also befall the National Endowment for the Humanities, which funds dozens of scholarly programs in California. The NEH has given San Jose State Associate Professor Matthew Spangler approximately $500,000 over the past three years, which he’s used to run a summer institute for K-12 teachers from around the country about the immigrant experience in California. As part of the program, the teachers are able to meet with authors ranging from Khaled Hosseini to Luis Valdez and Maxine Hong Kingston.\u003c/p>\n\u003cp>“The teachers come from all over — rural Georgia, Ohio, Wyoming, Alaska, New York — and they go back to do their schools rejuvenated,” Spangler says. “So these programs benefit the constituents of the very states of the congresspeople who will probably vote to kill them. That’s what’s kind of sad and ironic.”\u003c/p>\n\u003cp>Congress has considered proposals to kill federal arts and culture funding before, and rejected them.\u003c/p>\n\u003cp>“We’re not going to drop like a wet rock out of the sky tomorrow,” says Kitchener.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://californiansforthearts.org/board-of-directors/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area Executive Director Brad Erickson\u003c/a> is heading a delegation of state arts leaders flying to Washington on Monday and Tuesday (March 20 and 21) to lobby Congress on what they’re calling an \u003ca href=\"http://www.americansforthearts.org/events/arts-advocacy-day\" target=\"_blank\" rel=\"noopener\">Arts Advocacy Day\u003c/a>. They promise they’ll be calling on Representative Ken Calvert, who represents Riverside County and who chairs the interior subcommittee which oversees the NEA budget.\u003c/p>\n\u003cp>Says CAC director Watson: “This is the beginning of the battle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the official release of President Trump’s proposed budget on Thursday, arts leaders in California weren’t surprised to see the elimination of the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a> (NEA) and the \u003ca href=\"https://www.neh.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Humanities \u003c/a>(NEH) among the cuts. But that doesn’t mean they’re not worried about the survival of dozens of arts programs across the state, many of them serving immigrant and poor communities.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“It’s a significant blow,” says California Arts Council director Craig Watson. “Our fear is that even a loss of modest funding will have a ripple effect through local neighborhoods, and the neighborhoods that are least able to afford those losses.”\u003c/p>\n\u003cp>Watson says individual grants aren’t that large. In total, the NEA split $7.8 million among 119 grantees in California this year (2016-2017), while another $1.2 million went to the California Arts Council. But grantees have to match every dollar from other donors, in part to demonstrate public support for their programming or artworks. Groups say they can leverage an NEA grant nine times.\u003c/p>\n\u003cp>The Alliance for California Traditional Arts (ACTA) received $120,000 from the NEA last year, and the group stretched that money to support the work of everyone from Ohlone basket weavers to producers of Vietnamese opera and Cowboy poets.\u003c/p>\n\u003cfigure id=\"attachment_12911339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12911339 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg\" alt=\"Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez. \u003ccite>(Photo: Courtesy California Arts Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the thing that really is alarming about eliminating this agency,” says ACTA director Amy Kitchener. “There really is a fragile ecosystem for the arts in this country.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cuts could also mean more empty galleries at museums. The NEA underwrites temporary insurance for artwork in traveling exhibitions, an often otherwise prohibitive cost even for larger museums.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (SFMOMA) director Neal Benezra says the museum couldn’t have co-curated its current \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">\u003cem>Matisse/Diebenkorn\u003c/em> \u003c/a>show without NEA support, seeing as paintings by Matisse are valued in the \u003ca href=\"http://www.independent.co.uk/arts-entertainment/art/matisse-sets-new-49-million-dollar-record-in-new-york-2126992.html\" target=\"_blank\" rel=\"noopener\">millions and tens of millions of dollars\u003c/a>. “For many of our visitors,” Benezra wrote in an email, “these exhibitions represent the only opportunity in their lifetimes to enjoy and learn from these important works and the artists who created them.”\u003c/p>\n\u003cfigure id=\"attachment_12876000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12876000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg\" alt=\"Matisse's Goldfish and Palette next to Diebenkorn's Urbana #5- showing the affinities between the two artists in a show at SFMOMA\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matisse’s ‘Goldfish and Palette’ next to Diebenkorn’s ‘Urbana #5’ — showing the affinities between the two artists in a show at SFMOMA. \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>President Trump has also proposed eliminating the \u003ca href=\"https://www.imls.gov/\" target=\"_blank\" rel=\"noopener\">Institute for Museum and Library Science\u003c/a>, which helped fund SFMOMA’s new Photography Interpretive Gallery.\u003c/p>\n\u003cp>The same fate would also befall the National Endowment for the Humanities, which funds dozens of scholarly programs in California. The NEH has given San Jose State Associate Professor Matthew Spangler approximately $500,000 over the past three years, which he’s used to run a summer institute for K-12 teachers from around the country about the immigrant experience in California. As part of the program, the teachers are able to meet with authors ranging from Khaled Hosseini to Luis Valdez and Maxine Hong Kingston.\u003c/p>\n\u003cp>“The teachers come from all over — rural Georgia, Ohio, Wyoming, Alaska, New York — and they go back to do their schools rejuvenated,” Spangler says. “So these programs benefit the constituents of the very states of the congresspeople who will probably vote to kill them. That’s what’s kind of sad and ironic.”\u003c/p>\n\u003cp>Congress has considered proposals to kill federal arts and culture funding before, and rejected them.\u003c/p>\n\u003cp>“We’re not going to drop like a wet rock out of the sky tomorrow,” says Kitchener.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://californiansforthearts.org/board-of-directors/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area Executive Director Brad Erickson\u003c/a> is heading a delegation of state arts leaders flying to Washington on Monday and Tuesday (March 20 and 21) to lobby Congress on what they’re calling an \u003ca href=\"http://www.americansforthearts.org/events/arts-advocacy-day\" target=\"_blank\" rel=\"noopener\">Arts Advocacy Day\u003c/a>. They promise they’ll be calling on Representative Ken Calvert, who represents Riverside County and who chairs the interior subcommittee which oversees the NEA budget.\u003c/p>\n\u003cp>Says CAC director Watson: “This is the beginning of the battle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"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"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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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>",
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"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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