Theater

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Are we helping nonprofits prepare themselves for the challenges of future leadership transition?

Jennifer Hill, Ruth Mott Foundation (moderator); Lauren Renee Hayes, Grants for the Arts/San Francisco Hotel Tax Fund; Lisa Mount, Alternate ROOTS (interlocutors).

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2007, 104 pages. The Foundation Center, 79 5th Ave, NY, NY, 10003, (800) 424-9836, www.foundationcenter.org

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It's a long plane ride from Los Angeles International Airport to Nairobi — twenty-four hours in the air, and you get there two days after you started. I arrived with a couple of extra boxes containing books — theater books of all kinds, textbooks, and play scripts. On the label I had boldly printed their destination: Ford Foundation East Africa Office, Rahimtulla Tower, Nairobi, Kenya. Perhaps because of this address — either that or the literature — I was able to pass through customs without paying the duty for which Kenyan Customs is notorious.

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2007, 7 pages. The William Penn Foundation, Two Logan Square, 11th Floor, 100 North 18th St, Philadelphia, PA 19103, (215) 988-1830, www.williampenfoundation.org

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2007, 11 Pages. Americans for the Arts, One East 53rd Street, Second Floor, NY, NY 10022, (212) 223-2787, www.americansforthearts.org

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In June 2007, the Broward Cultural Division and the local arts incubator, ArtServe, Inc., implemented the first "The Artist as an Entrepreneur Institute" (AEI) in South Florida. Presented on four consecutive Saturdays, the AEI offered eighteen classes during three full-day sessions and an extra half-day Business Plan Clinic on the final Saturday.

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When funders move into indigenous communities they tread a very fine line. On one side of the line they have a duty to undertake sufficient investigation to ensure that they properly understand a funding request and their own role in relation to it. On the other side, obtaining the information may conflict with the ability to acknowledge and give appropriate respect to the applicant's indigenous culture and its bounds.

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Jeff Chang is widely known for chronicling the story of the hip-hop generation through his book Can't Stop Won't Stop and the recent anthology Total Chaos. In this Taos Journey essay, Chang looks back at the legacy of the multiculturalism movement of the 1960s and '70s; at the last several GIA conferences, grantmakers have gathered to discuss their concerns about crises in important culturally specific organizations formed during that period.
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