Adults age sixty-five and above are currently the fastest-growing segment of the US population. In 2016, there were 47.8 million individuals age sixty-five and over in the United States (US Census Bureau 2017), and this number is expected to more than double by 2060. By 2040, nearly half of older adults are expected to come from diverse racial/ethnic and socioeconomic backgrounds (Vincent and Velkoff 2010; Johnson, Rodriquez-Salazar, et al. 2018). San Francisco’s population of older adults is higher than the national norm.
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Today, Regina’s Door in Oakland serves as a healing artistic space for survivors of sex trafficking, as well as a launching pad for theatrical productions featuring the stories and performances of survivors. Its start came in 2014, when Regina Evans decided she needed to do something to help her community. “We have young girls being brutalized every day. In Oakland trafficking is very hidden, but if you go down International Boulevard, you also see very young girls — twelve, thirteen, fourteen years old, and you know they’re being raped,” she said.
The woman on the phone was friendly but insistent. “Look,” she said, “more and more artists and arts organizations are taking on cross-sector community-based work. But this is a complex gig, and, unfortunately, many of them are in over their heads.” It was a blunt assessment, but I knew she was right. “Yeah, I’m seeing the same thing out in the field. So, what do you think is needed?” Her response? … One word: “Training!”
“As this has never been done before, we have no idea what we’re doing today,” Joanna Haigood half-joked at the launch of Paseo, less a walking tour than a movable, danceable feast, a peripatetic block party that, for one delightful hour, would twist through the South Bronx neighborhoods of Hunts Point and Longwood.
About four years ago I attended an extraordinary meeting in Philadelphia. Susan Nelson, principal of Technical Development Corporation (TDC), was presenting the draft of Getting Beyond Breakeven to the Greater Philadelphia Cultural Alliance and many other stakeholders associated with the work.
Enriching our culture and engaging diverse and underserved communities, small arts organizations pop up, flourish, and sometimes flounder, mostly under the philanthropic radar. They often foster artistic expressions not adequately served by larger organizations.
Council on Foundations Annual Conference, May 1, 2001
Craig McGarvey, The James Irvine Foundation
From a position of received privilege, how should one behave so that it might be put to productive use as people are learning to get better at their work? This is a central question facing philanthropy, and it figured centrally in preparations for today. How to say something appropriate and helpful under such extraordinary circumstances?
There was the problem that no single foundation's body of work could possibly measure up to being singled out.
2008, 327 pages.
The more things change, the more they remain the same.
Jean Baptiste Alphonse Karr, 1849 French critic and writer
Between 2006 and 2008, the Social Impact of the Arts Project, a research group at the University of Pennsylvania (SIAP), collaborated with The Reinvestment Fund (TRF), a community development financial institution, on an investigation of the creative sector's potential contribution to neighborhood economic and community development.
Arts and education grantmakers at an historic gathering in Santa Fe in October of 2007 agreed on the need to forge a new vision for public education in the United States and to collectively explore how the arts can help shape and realize that vision.
Convened by Grantmakers in the Arts and Grantmakers for Education, more than 100 foundation representatives met formally for the first time under the aegis of their two affinity organizations to debate and discuss the role of the arts in education.