Arts Funding Programs for ALAANA Artists and Arts Organizations

Date: 
Tuesday, September 26, 2017
Location: 
Online

Tuesday, September 26, 2:00pm EDT / 11:00am PDT [PASSED]

  • Tracie D. Hall, Program Director, Culture, The Joyce Foundation
  • Bushra Junaid, Outreach and Development Manager, Ontario Arts Council
  • Dana Payne, Program Director, Pennsylvania Council on the Arts

Session 11 of the 2017 Webinar Series.

Webinars are free to the staff and board of GIA member organizations. The fee for nonmembers is $35.

For the deaf or hard of hearing, live captioning is available by request. Please contact SuJ’n Chon, GIA program manager, at least three (3) business days prior to the webinar to request live captioning.

Description:

The explicit goal of Grantmakers in the Arts’ statement of purpose on racial equity in arts philanthropy is “to increase arts funding for ALAANA* (African, Latino/a, Asian, Arab, and Native American) artists, arts organizations, children, and adults.” This webinar will feature programs by two public funders — one from Canada and one from the US — and one private funder that each direct their funding support to artists and arts organizations from historically underfunded identity groups within their geographic focus areas. Bushra Junaid from Ontario Arts Council, Dana Payne from Pennsylvania Council on the Arts, and Tracie D. Hall from The Joyce Foundation will discuss how their programs developed, who they serve, and how their programs are strategically used to help close the racial gap in arts philanthropy.

* ALAANA is an acronym adopted by the GIA board intended to be inclusive of any artist and arts organization from historically underfunded racial or ethnic identity groups

Presenter Bios:
Tracie D. Hall

Before her appointment to head The Joyce Foundation’s Culture Program, Tracie D. Hall served as deputy commissioner of Chicago’s Department of Cultural Affairs and Special Events (DCASE) where she oversaw the Arts and Creative Industries division. Prior to her work at DCASE, Hall was vice president of strategy and organization development at Queens Library (NYC); in The Boeing Company’s Global Corporate Citizenship division as community investment strategist and later as Chicago community investor; as visiting professor at Catholic, Southern Connecticut State, and Wesleyan Universities; and in nonprofit and public-sector posts across the country. Deeply invested in the intersection of arts access, literacy, youth, and economic development, Hall helped found and develop arts programs for young people in NYC and Seattle. She holds degrees from University of California, Yale University, and University of Washington.

Bushra Junaid

Bushra Junaid currently manages the Ontario Arts Council’s (OAC) Skills and Career Development: Indigenous Arts Professionals and Arts Professionals of Colour programs and its Deaf and Disability Arts Projects program, among other equity, diversity, and inclusion initiatives. As an arts administrator, Junaid has spent more than a decade supporting the development and artistic practices of artists from a diverse range of backgrounds, communities, and cultures. She has also worked in social housing design, low income and homeless initiatives, newcomer and refugee settlement, and community-engaged arts. As a practicing artist, Junaid primarily works in mixed media collage, drawing, and painting. She is interested in history, memory, and cultural identity — and in particular the arts, culture, and histories of the African diaspora. She received a bachelor of environmental design and a masters of architecture from the Technical University of Nova Scotia.

Dana Payne

Dana Payne serves as program director for the Pennsylvania Council on the Arts (PCA). In this capacity, she is responsible for the administration of grant programs for dance, folk and traditional arts, and the agency’s nationally-recognized Preserving Diverse Cultures division. Payne is dedicated to providing artists and organizations with the support, tools, and resources necessary to achieve sustainability and to creating and fostering initiatives based on the principles of diversity, cultural equity, and inclusion. In past roles, she served as manager of community affairs for the August Wilson Center for African American Culture, program director for the African American Jazz Preservation Society of Pittsburgh, and managing director of Xpressions Contemporary Dance Company. She received a BS in business administration from the University of Pittsburgh and participated in the PCA’s arts management internship program.

Additional Q&A

Responses from Bushra Junaid

Q: If you give grants to individuals, what do you do to structure the grant or amounts to not harm artists who might lose access to benefits (whether disability, rent, healthcare, etc.) when they receive grant funding that counts as personal income?

OAC provides documentation on the grant and what the breakdown of funds is to support the recipient and their caseworkers in understanding what a grant is and how it will be used.

Q: Very general question, but: if you could change one thing to grant applications to make them better, what would you do?

We’ve heard of many different ways to distribute funding such as oral pitches, nominations by peers, recognition of past work rather than proposals for future projects.

Q: What percentage of your overall program budget goes to artists/arts organizations of color?

  • 10% of OAC’s total grant dollars went to artists/organizations of colour in 2015/16
  • 7% of OAC’s total grant dollars went to Indigenous artists/organizations in 2015/16
  • Just a caution that you can’t add the figures together as there may be overlap if some individuals self-identify as both Indigenous and person of colour.) 2015/16 is the most recent year available at the moment

Q: What challenges are you experiencing in the broader funder community as you advocate for stronger ALAANA funding/support?

Some challenges in the field are limited resources, limited understanding of community needs, need for more training and development of an equity lens, limited peer networks to share information and best practices in supporting ALAANA artists/organizations.

Q: For Bushra: In Saskatchewan the bulk of our non-white applicants are Indigenous on whose land we now reside. They cannot flee because, well, where would they go? Do you have thoughts about this particular problem when reaching out to include Indigenous applicants?

Explore OAC’s Indigenous Artists priority group page and Indigenous Culture Fund (ICF) as helpful references to the types of funding, services and support available.

Q: How have your programs evolved through your interactions with ALAANA communities?

Adding Third Space as a third party recommender, perhaps the development of the Indigenous and culturally diverse curatorial and dance training project programs, developing and supporting specific outreach initiatives — for Black curators and visual artists, Fuel for Fire for writers of colour.