SEED+Grant+-+Potential+Funding+Opportunities

Hello Everyone,

Girija asked that I share the research that I have done thus far on several research topics and potential funding opportunities for future SEED Grant/InterArts projects.

The research is below.

Thanks! ~ Jill Harrison-Snyder ~


 * __GRANT RESEARCH

CREATIVE CAMPUS__

Program History ** //The Creative Campus// initiative began following the 104th American Assembly at Columbia University, held in March 2004. The convening was supported by the Ford Foundation, the Doris Duke Charitable Foundation, The Dana Foundation, the AT&T Foundation, Pfizer and the Altria Group. More than sixty distinguished professionals, including Sandra Gibson (President & CEO of the Association of Performing Arts Presenters), gathered for over two days to examine the factors that characterize effective partnerships in education and the arts â€“ the projects, proposals, curricula, and creative forces that make such partnerships work.

All participants fully acknowledged that higher education and the arts make their own specific offerings to a vital and thriving culture on campus and in the surrounding community. Together they can generate imaginative and inspiring activities that benefit campuses, fortify artists and arts institutions, educate students, and stimulate audiences. In 2006 the Association of Performing Arts Presenters (Arts Presenters), with funding from the Doris Duke Charitable Foundation (DDCF), initiated //The Creative Campus Innovations// program to move the conclusions and recommendations drawn from the American Assembly into action. In so doing, the program endeavored to deepen the aesthetic experience and the expansion of mind and spirit through innovative partnerships between arts presenters and their colleagues based on campuses across the country.

Program Background
The //Creative Campus Innovations Grant Program// was established in January 2006 with an initial award of $1,500,000 from the Doris Duke Charitable Foundation to support exemplary campus-based performing arts presenters to develop and implement programs and strategies beyond conventional practice that integrate their work across the academy. The program encourages collaborations between the academy (administration, faculty and students) and local community partners. In 2007 eight campuses were awarded one or two-year grants totaling $1 million to undertake innovative projects that had the potential to increase awareness of the value of and expand support for integrating the performing arts into the academy and the campus community. DDCF engaged WolfBrown to provide ongoing program evaluations and their findings helped to reshape the process for the 2008 grant program.

In 2008, Arts Presenters received a renewal grant from the Doris Duke Charitable Foundation to provide a second round of grants to selected colleges and universities under the Creative Campus Innovations Grant program (Creative Campus) for projects beginning September 1, 2010 through May 31, 2012. The changes and additions to the program include: an extended application process that includes planning grants for the second round finalists to strengthen the relationship with the artist(s), build the campus and community partnerships and more clearly articulate potential impact that will address the overall criteria of the program; additional support will be given to first year grantees to further document and assess program efforts and to mentor the new group of grantees; research and dissemination of best practices; and to expand learning communities established during the first grant period.

Program Description
The purpose of the //Creative Campus Innovations Grant Program// is to identify, support, and document cross-campus interdisciplinary collaborations that integrate the work of performing arts presenters in the academy and the surrounding community. Arts Presenters will award between 8 to 10 one- to two-year project grants, ranging from $100,000-$200,000 each in 2010 to college and university presenters for projects that go beyond conventional practice and perspectives, feature innovative or experimental approaches, connect with arts and non-arts constituencies, and stimulate discussion and debate. Funding support is meant to both support new initiatives and deepen existing efforts to integrate the performing arts into the academy.

Project Goals
Creative Campus Innovations projects should incorporate a variety of campus-based programs and activities that integrate the work of presenters into the life of the academy and the community by working collectively with other college or university partners and community partners to maximize resources and capacities in the performing arts. Each project must meet the following goals:
 * integrate the performing arts into the education, service, and scholarly missions of the academy and engage chief academic officers and executive leadership;
 * provide opportunities to deepen and expand the participation of artist(s) in the academy through long term residencies, commissions and/or other creative activities; and
 * identify, document, and share lessons learned that will contribute to an evolving knowledge base and learning community for campuses and the wider performing arts and presenting field.

How to Apply

 * 1) Read the Eligibility Requirements, Guidelines and Helpful Definitions thoroughly.
 * 2) Access the application using your user id and password.
 * 3) Prepare and submit the online application by the **June 30, 2010** deadline.
 * 4) Prepare and mail a hard copy of the application __and__ any support materials (CD, DVDs or videotapes) to: Creative Campus Innovations Grant Program, Arts Presenters, 1211 Connecticut Avenue, NW, Suite 200, Washington, DC 20036. **All hard copy materials must be postmarked by June 30, 2010**.

Project Grant Eligibility

 * Applicants are not required to be members of the Association to be considered for Round I review. However, non-member applicants invited to go forward for Round II will need to acquire membership in the Association prior to submission of the Round II proposal.
 * Applicants must be designated as the performing arts presenting organization or presenter for the college or university (see the definition of performing arts presenter in these guidelines);
 * Applicants must be able to document the commitment of the institution at the highest level (top level administrators-president, chief academic officer) to support the goal of integrating programs and activities developed by the performing arts presenter into the educational, service and scholarly missions of the academy.
 * Applicants must be able to demonstrate and document a history of diverse and high quality performing arts presenting including but not necessarily limited to dance, jazz and/or theatre, and sustained audience and community engagement.
 * Applicants must be willing to participate in a learning community to enrich the learning experiences of fellow grantees and the field.
 * Applicants must be able to demonstrate that funding received from this project will be financially supported in part through additional budgeted campus or university funds (i.e. Creative Campus Innovations grant funds do not provide sole support for project activities).

Funding Restrictions

 * Incomplete applications will be considered ineligible and will not be reviewed.
 * Indirect costs may not exceed 12% of the project direct costs (see Indirect Costs section).

Review Criteria
The following review criteria will be used by panels to determine which applications will be recommended to submit full proposals for consideration. The applications that address each criterion will be most competitive.

__Project Concept__

 * Evidence of successfully integrating programs and activities developed by the presenter into the college or university's priorities in education, research and/or community service
 * Evidence of the artistic merit and quality of the project, including commitment of the artist to engage students, faculty and audiences in understanding and valuing the creative process in conjunction with work to be presented

__Campus and Community Engagement__

 * Evidence of engaging and sustaining audiences on campus and in the community
 * Extent to which students are likely to engage in and benefit from the project
 * Depth and quality of cross-campus and community partnerships made possible by the project
 * Evidence of the commitment and support of the college or university's top administrators, non-arts faculty, and community partners, including their participation in strategic planning and policy-making that are critical to meeting project goals and sustaining future opportunities for integrating the arts in and across the academy

__Organizational Capacity__

 * Evidence of the highest quality and consistency in presenting outstanding and diverse performing artists who reflect a wide range of styles as well as international perspectives
 * Extent to which conditions exist (including readiness to move forward) to establish and/or expand partnerships and collaborations between the presenter and appropriate individuals and committees representing key constituencies across the academy and in the community
 * Strong commitment to supporting the artists' creative process and the engagement of students, faculty, and audiences with resources of the college or university, e.g., technological and intellectual resources

__Project Impact__

 * Clearly articulated outcomes that can be reasonably achieved
 * An evaluation design that identifies the focus, process, and resources to be engaged in documenting and assessing project outcomes (note: this to be developed with planning grant assistance for invited round 2 applicants)

Helpful Definitions and Hints
The following information is provided to assist applicants with determining eligibility and capacity for competing successfully in the granting program. While there are exceptions due to the sheer diversity of organizations and approaches within the arts presenting fields, they are meant to offer useful distinctions for potential applicants to determine how to best categorize their organization and projects for the purposes of the //Creative Campus Innovations Grant Program//.

__Definitions__
//**Performing Arts Presenter**//Arts presenters form a sector of the performing arts field comprised of a variety of sizes, functions, configurations and artistic and curatorial interests â€“ all of which share the mission of providing opportunities for artists and audiences to share the performing arts through performances, commissioning projects, and education initiatives. Arts presenters generally work with professional artists to create programs that complement the existing artistic activities in their communities and to provide local audiences and artists with consistent access to creative expression and works that are not limited by geographic borders.//**Participation of Artists**//Artists selected to participate in the project must be committed to openly sharing their creative process as part of the development of new work or through residencies that are connected to project goals and objectives. This includes such activities as master classes; co-design and instruction of new curriculum-based courses; workshops for students, faculty, and/or community members; pre and post-performance discussions, and other opportunities to provide insight about the role and value of integrating the arts.

__Helpful Hints__
Applicants are encouraged to respond directly to the eligibility requirements and review criteria identified in the guidelines above. A significant number of applicants that participated in the first //Creative Campus Innovations Grant Program// moved forward in the review process by providing clear and adequate evidence of the following:
 * Top level officials are committed to providing policy support and resources that will ensure the success of the proposed project
 * Documentation of the presenter's high-quality programming and audience engagement
 * Descriptions of strategies and expectations for effective integration of the performing arts presenting project or program into the academy, on the campus and in the surrounding community
 * Descriptions of the role of the artist, the creative process, the selection process and artistic outcomes
 * Strategies for engaging students in the project

Indirect Costs
The following describes the Art Presenters' guidelines for allowable indirect costs within grants. Indirect or Overhead costs are the institutional costs and services that support all of the work of the grantee organization but which cannot be directly attributed to a particular funded project, for example, rent, mortgage, support equipment, service departments such as general administration, development or finance (costs that would exist to a large extent whether or not the funded program existed). The guideline for budgeting indirect costs is 12% of all the direct costs of the funded project, whether the direct costs are incurred by the grantee or by a subcontractor of the grantee. In other words, the 12% may be shared between the grantee and the subcontractor, but collectively the total indirect costs cannot exceed 12% of the direct costs of the project. A grantee and subcontractor may agree to share the 12%, with each collecting less than 12% of its own direct costs. What cannot happen is for a subcontract that is included in the indirect cost base of the grantee to also include 12% indirect (in other words, the indirect costs are charged on indirect costs).

Additional Resources
> //Inside Arts// (Arts Presenters bi-monthly magazine) article that highlights the 2007 Creative Campus Innovations Grantees. > Nancy Cantor, Chancellor and President of Syracuse University, delivered this keynote address at the Creative Campus session during the 2009 APAP Conference. > These recommendations were highlighted during the 2008 Creative Campus Innovations Grantee Meeting. > In 2004, the American Assembly at Columbia University convened to discuss the performing arts and their role within higher education. This report summarizes the 104th American Assembly and introduced the concept for the Creative Campus Innovations Program. > This release announces the second year of the Creative Campus Innovations Grant program. It also provides a brief description of the existing grant recipients, their partners and the projects developed with funding from the Creative Campus Innovations Grant Program. > Arts Presenters has compiled a list of the frequently asked questions about the Creative Campus Innovations Grant Program. > In 2007 eight campuses were awarded Creative Campus Innovations Grants. This document provides basic background information for each project awarded to our existing grantees.
 * 1) __[|Change Agents on Campus]__
 * 1) __[|The Creative Campus: Innovative Ideas for Cross-Sector Collaboration]__
 * 1) __[|Key Campus Resources Required for a Successful Project]__
 * 1) __[|The Creative Campus: The Training, Sustaining and Presenting of the Performing Arts in American Higher Education â€“ The 104th American Assembly]__
 * 1) __[|Creative Campus Press Release]__
 * 1) __[|Frequently Asked Questions]__
 * 1) __[|Creative Campus Innovations Grant Grantees]__

Contact Us
Have questions? Need project grant application assistance? Send an email to __CreativeCampus@artspresenters.org__ or call 888.820.ARTS (2787) and ask for the Programs Department.

_

__**W.K. KELLOGG FOUNDATION**__  __Understanding Current Priorities__

The Kellogg Foundation has the privilege and ability to provide financial resources, connections, and learning that will help strengthen ways in which communities can increase opportunities and build capabilities that improve the places where children live and the resources that are available to them. We rely on our grantees to implement the work by understanding and responding to the needs of their communities and sharing what they’ve learned with others. Although the work begins in communities, the ultimate **vision** is to ensure that the success of our children becomes a national commitment.

In the United States, our focus is on increasing access to opportunities that affect the success of the 80 million children who live in our nation. We help build and strengthen educational and economic institutions so families and children can thrive in stable and nurturing environments.
 * The Kellogg Foundation’s Funding Focus **

We help communities create the environments that will lead to success, good health, and valuable learning throughout childhood. We want all children to have equal opportunity to reshape tomorrow’s society in positive and productive ways.

Therefore, we are most interested in the 30 million children in the U.S. growing up without access to the critical resources needed to bring them into the economic and social mainstream. Of special concern are children growing up in “double jeopardy” environments – which means children who are growing up in poor families and poor neighborhoods.

Research has demonstrated that disadvantaged neighborhood environments are associated with detrimental health outcomes, developmental delays, teen parenthood, and academic failure.

While not exclusively affecting “children of color,” black and Latino children are routinely growing up in neighborhood environments much worse than white children, even those with similar levels of family poverty. In fact, 56 percent of children who live in poverty in the U.S. are children of color. This dramatic reality has led the Kellogg Foundation to commit to working toward the achievement of racial equity as a priority in all of our work. We award the majority of our grants to tax-exempt organizations in the United States.
 * Where We Award Grants **

To focus our work in the United States we make grants in three priority locations: · Michigan · Mississippi · New Mexico

We also fund other promising ventures throughout the country.

We are committed to helping strengthen four dimensions of community life – essential elements that we believe all children need in order to be successful: · Education and Learning · Food, Health and Well-Being · Family Economic Security In Step 3 of this process, you will explore these current U.S. interests in greater detail.

Achieving racial equity will mean taking actions designed to remove present day barriers to equal opportunities. This may be accomplished through different strategies including – but not limited to – eliminating institutionalized discriminatory policies and practices, and working in neighborhoods of concentrated poverty to improve opportunities for quality education, health, safety, and economic security.
 * Race and Place as Critical Factors in Children’s Success **

As we look for ways to keep our country prosperous, we need to make the next generation a significant priority. Even economic experts agree that child development is the foundation for community development – which, in turn, is the foundation for economic development. Capable children become the foundation for a prosperous and sustainable society.

Whether through very targeted projects, or those more broadly focused (and, subsequently, the offshoots of these efforts), the theme everywhere the Kellogg Foundation goes is building partnerships to create and sustain communities so that all may participate and benefit. What we fund in the future will be built upon these platforms.
 * Guided by a Strategic Framework **

To achieve these goals, we created an organizational Strategic Framework that gives us direction on how we will work to achieve our mission and vision. To implement our work on behalf of children, we will: · Focus on **Place** · Integrate key **Approaches** · Emphasize key **Elements** Grant applications that correspond to some combination of these essential dynamics will be given greater consideration.

As noted earlier, the critical need is in the communities and neighborhoods where concentrated poverty and poor families combine to create a “double jeopardy” that make a healthy, successful future for children very much in doubt. Therefore, place has become an essential component of our funding focus as are vulnerable children, especially children of color. When we improve schools, food, health care, or opportunities for civic participation in the communities in which children live, we open the way for better jobs and healthier living. As children grow into stable, competent adults, they also change their own communities for the better.
 * Why Focus on Place? Where We Fund **

By improving community environments and ensuring the availability of health services and resources for all children, we can help diminish some of the obstacles that children living in deficient environments face.

Because we have limited resources and seek to make a clear impact, we have identified Michigan, Mississippi, and New Mexico as priority places. These are areas where the need and momentum exist and where the Foundation can build upon existing work and deepen its commitment to children. Although the Foundation’s resources will be strategically concentrated in these locations, the Foundation continues to fund other promising ventures focused on children throughout the United States, including those that fit the specific needs of its hometown of Battle Creek, Michigan, and its ongoing effort in the greater New Orleans area.

For nearly 80 years, the Kellogg Foundation has relied on a number of approaches we consider essential to creating long term impact. We see these as signature strategies of the Kellogg Foundation. They are fundamental and deeply embedded in all we do.
 * Pursuing Key Strategies That Characterize Our Work **

There are three dimensions of family and community life that we see as essential “elements” for children’s success. Projects that work within one or more of these areas – especially those that address the needs of children in Michigan, Mississippi, and New Mexico – have a greater likelihood of receiving our support. · ** EDUCATION AND LEARNING ** · ** FOOD, HEALTH AND WELL-BEING ** · ** FAMILY ECONOMIC SECURITY **
 * Addressing Elements That are Fundamental to Children’s Success **
 * APPLICATION PROCESS **

Grant applications are received throughout the year and are reviewed at our regional offices and at our headquarters in Battle Creek, Michigan. Working within our Strategic Framework, Kellogg Foundation program staff members review applications to determine which are most relevant to our mission, vision, current priorities, and budget.
 * Amounts, Process, and Timetables for Funding **

Once we receive your completed online application, an automated response, which includes your WKKF reference number, will be sent to you acknowledging its receipt. Our goal is to review your application and email our initial response to you within 45 days. Your grant may be declined or it may be selected for further review and information gathering. This may take six months or more, depending on the complexity of the project.

If you have other questions or concerns, please submit them to **our proposal processing staff**. We will strive to provide you with an answer within four business days. If you would like to speak with someone personally, please contact the Central Proposal Processing department at (269) 969-2329.

[]
 * LINK FOR APPLICATION QUESTIONS:**

 **__MACARTHUR FOUNDATION__**

__[|http://www.macfound.org]__

To help develop successful individuals and strong communities, the Program on Human and Community Development focuses on the relationships among people, place, and systems. Through grants and loans, the program explores two primary themes: the important role of place — home, community, city, region, and state — in people’s lives; and the shared interests between individuals, particularly those in trouble or in need, and society at large. Specific fields of work include community and economic development, stable and affordable housing, juvenile justice reform, and education — understanding how young people are different because of their use of digital media, a difference likely to be reflected in how they think, learn, judge, confront ethical dilemmas, and interact with others. The Program also supports a series of special policy projects, including the role that evidence plays in social policy and the country’s fiscal health.
 * __U.S. Grant making Program: Human and Community Development__ **

During the past year, MacArthur has deepened its investment in core areas of domestic grant making. Significant progress has been made in [|Models for Change,] the Foundation’s national juvenile justice reform initiative, as partner states have begun to change systems and processes and enact legislation to make their juvenile justice systems more fair and effective. [|Window of Opportunity], a $150-million initiative to facilitate the preservation of affordable rental housing and new ownership, also expanded, reaching 37 states. MacArthur formally launched a new area of work in Digital Media and Learning, an effort to explore the hypothesis that increasing digital media use is affecting how young people see themselves, interact with others, express their independence and creativity, and how they think, learn, and exercise judgment — differences that are likely to have profound implications for formal and informal education. The Community and Economic Development program area helps to create vibrant, economically-integrated neighborhoods and to increase opportunity for low-income residents. The main goal is to produce measurable improvements in indicators such as income diversity, employment, household income, property values, crime, commercial investment, school attendance and graduation, and child and adult health status. A second goal is learning and sharing new knowledge with policymakers, practitioners and other funders.
 * Grant making Guidelines **
 * Overview **

MacArthur funds efforts to strengthen communities for the benefit of individuals and families and for the positive contribution that healthy communities make to their cities and regions. The Foundation hopes that this support will also generate new knowledge about community dynamics and the economic interdependence of neighborhoods, cities, and regions, and that the knowledge will lead to improved public policies. In 2009, the grant budget for this program area is $18 million. The Foundation also expects to make $15 million in program-related investments in this area in 2009.

The digital media and learning initiative aims to determine how digital media are changing the way young people learn, play, socialize and participate in civic life. Answers are critical to education and other social institutions that must meet the needs of this and future generations. ** Grant making Guidelines **
 * Digital Media & Learning **
 * Overview **

MacArthur grant making in education explores one of the most significant forces shaping student learning and educational experiences in and out of school in the 21st century — rapidly evolving new technologies, including digital media. Through research, demonstrations, and innovations in schools, libraries, museums and other institutions, the Foundation is helping to build a new interdisciplinary field at the intersection of digital media and learning.

Through grants to scholars, educators, designers and practitioners, MacArthur is exploring the hypothesis that digital media use is changing how young people think, learn, interact, confront ethical dilemmas and engage in civic life, and that there are significant implications for the formal and informal institutions — schools, libraries, and museums among them — charged with the education of American youth.

In 2009, the grant budget for this program area is $20 million. Foundation-funded research is contributing to a growing body of evidence about young people and digital media. Ethnographic studies, surveys and other projects are examining what young people are doing online, their views on such activities, and what knowledge, skills and competencies they are gaining.
 * __What MacArthur Funds__ **
 * 1) **Research**

Grants also support efforts to develop new learning environments and to understand how schools, libraries, museums and other formal and informal institutions need to adapt and change as a result of young people’s use of digital media. Projects are looking at learning in virtual worlds, through game design, with mobile devices, and through the interactions in social networks—in and out of school. Resources support new school design, including a hybrid institution that incorporates media into traditional curriculum and a radical new model based on the principles of game design that shape and inform all aspects of teaching and learning.
 * 1) **Practice**

To help build the emerging field of digital media and learning, the Foundation portfolio includes the [|International Journal of Learning and Media], the [|MacArthur Foundation Series on Digital Media and Learning] , and the MacArthur Foundation Reports on Digital Media and Learning, all published by MIT Press. An [|interactive Web site] and the [|Spotlight Blog] also are resources for the field, as is the <span style="color: #993300; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">[|Digital Media and Learning Research Hub], a new international research center at the University of California, Irvine.
 * 1) **Field-Building**

To encourage innovation and provide resources for new learning environments, including those developed by younger designers and scholars, the Foundation funds the <span style="color: #993300; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">[|Digital Media and Learning Competition]. This annual endeavor invites U.S. and international participants to compete for $2 million in grant awards administered by HASTAC. The Competition seeks projects in the U.S. and internationally that use digital or new media as platforms for participatory learning.


 * <span style="font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">APPLYING FOR MACARTHUR GRANTS **

Letter of Inquiry
If support is available according to the [|Grantmaking Guidelines], the next step is to submit a cover sheet and a letter of inquiry about the work being proposed. Send it either by mail to the Office of Grants Management at the [|Foundation’s Chicago address]   or by email to 4answers@macfound.org.

Cover Sheet
In order to expedite a letter of inquiry it is important that it include a cover sheet with the following information: · Information regarding who will carry out the work · Name of your organization (and acronym if commonly used) · Name of parent organization, if any · Name of chief executive officer or person holding similar position · Organization’s address (and courier address if different) · Organization’s phone number, fax number, and e-mail address, if any · Name and title of the principal contact person, if different from the above · Address (and courier address if different), phone number, and fax number of principal contact · E-mail address of principal contact · Web address, if any

Format
There is no set format, but letters of inquiry generally include the following: · Name or topic of the proposed project or work to be done · A brief statement (two or three sentences) of the purpose and nature of the proposed work · The significance of the issue addressed by the project and how it relates to a stated MacArthur program strategy · How the work will address the issue · How the issue relates to your organization, and why your organization is qualified to undertake the project · Geographic area or country where the work will take place · Time period for which funding is requested · Information about those who will be helped by and interested in the work and how you will communicate with them · Amount of funding requested from MacArthur and total cost (estimates are acceptable)

The Foundation’s Response
We will send you an acknowledgment that your letter of inquiry was received, and we will direct it to the appropriate staff members for review. If, as a result of that review, the Foundation concludes that there is no prospect of MacArthur funding, we will notify you promptly. Inquiries eligible for grant support will be acknowledged upon receipt at the Foundation; the review process for eligible inquiries can take up to eight weeks. As is now the case with most charities in the United States who make grants to organizations based outside the United States, the Foundation checks the names of foreign based grantees, and the principal officers and directors of such grantees, against one or more lists maintained by the U.S. government, the European Union, and the United Nations, which contain the names determined by such entities to be terrorist organizations or individual terrorists. This process is a result of legislation passed by the U.S. Congress, Executive Orders issued by the President, and suggested guidelines issued by the U.S. Department of the Treasury. A memorandum on this topic is available upon request.

All material submitted becomes the property of the MacArthur Foundation. The Foundation sometimes submits inquiries or proposals to confidential outside review.

Deadlines
With few exceptions, as noted elsewhere, there are no fixed deadlines. <span style="font-family: 'Times New Roman',serif; font-size: 16px; font-weight: 800;">

_

<span style="font-family: Arial,sans-serif; font-size: 13px;"> **__WILLIAM PENN FOUNDATION__**

[|**www.williampennfoundation.org**]

Improve the quality of life in the Greater Philadelphia region through efforts that foster rich cultural expression, strengthen children’s futures, and deepen connections to nature and community. In partnership with others, we work to advance a vital, just, and caring community.
 * <span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">Mission **<span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">

 250 grants awarded in 2008 for $81.2 million  $62.9 million paid in 2008 on 439 active grants  $1.4 billion in total assets as of 12/31/08 **<span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;"> Core Principles ** ** Long-Term Focus: **   We focus on work that will strengthen the region's viability and sustainability for the long term, rather than confining our efforts to short-term goals. ** Integration: **   Whenever possible, we integrate grantmaking throughout rural, suburban, and urban areas of the Philadelphia region and across Foundation grantmaking categories. ** Achievability: **   We support work that is based on sound objectives and measurement practices, is ambitious but achievable, and is relevant to our grantmaking capacity to contribute. We understand that success is predicated on the presence of social capital and viable partners and on sharing and applying insights learned from previous work in the field. ** Leverage: **   We focus on work that has a multiplier effect; we seek points of leverage, including alignment of interests across the private and public sectors. ** Relevance: **   We regularly and consistently ask our community for information regarding significant challenges faced by our region and for feedback about the value and effectiveness of our work and the relevance of our planned future directions.
 * Why William Penn?** The Foundation is named for the 17th century Quaker whose pursuit of an exemplary society and understanding of human possibilities led to his founding of Philadelphia, the City of Brotherly Love. Today, the Foundation works to improve the quality of life in the Greater Philadelphia region by advancing dynamic and diverse communities that provide opportunity.
 * Quick Facts and Figures: **


 * <span style="font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">Arts and Culture **

**Director:** Olive Mosier

**Funding goal:** To broadly advance a vibrant regional cultural community.

Funding Philosophy and Approach
 * <span style="font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">What We Fund **
 * <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">1. ****<span style="font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">Arts & Culture **

** Philosophy **

Arts and culture are vital to a healthy community. A vibrant arts community is one that is accessible to all and enriches people's lives. It celebrates diverse cultural experience and expression; stimulates and nurtures the creative and intellectual spirit; and values individual heritage as well as our common past.

Through grantmaking and other activities, the Foundation seeks to advance artistic achievement, increase residents' access to and appreciation of arts and culture, and promote public participation in and support for the arts.

The Foundation's grantmaking responds to a variety of ongoing needs of the local arts and culture.

In addition, the Foundation has an interest in grantmaking strategies that address the strengthening and regional advancement of the nonprofit cultural industry as a sector, a field, or discipline.


 * Grantmaking Approach**

Arts & Culture grantmaking strives to support a broad array of professional nonprofit cultural organizations of all sizes and types, and in varying stages of growth, throughout the region. These include visual, media, collecting, and literary institutions; performing arts institutions; historically significant sites; arts education, community arts, and arts service organizations; and arts organizations that produce work for children and young audiences. Organizations eligible for funding can represent any artistic discipline: architecture, dance, design, folk and traditional arts, literature, media (including film, television, video, radio, and audio art), music, musical theater, opera, theater, visual art, and multidisciplinary work.

Grants are awarded in response to needs identified by arts and cultural organizations. The Foundation responds to these requests by actively engaging with the applicant in researching requests for support, and understanding, clarifying, and refining individual requests to ensure appropriateness within the overall mission, goals, strategies, and capacity of the organization itself. Artistic excellence and merit, management capabilities, community engagement, leadership, and fiscal responsibility are used to help gauge an applicant's well-being and likelihood of success in its proposed endeavor. Additionally, the request is evaluated within the larger context of the state of the field, the region and, at times, the nation. In this way, the Foundation ensures an effective investment in the organization.

Specifically, in making its funding judgments, the Foundation will look for those organizational attributes that were identified by the National Endowment for the Arts as critical to success as a “high-performance” arts organization: Once an assessment is made of the overall organization seeking funding, an evaluation of the specific request and its appropriateness and feasibility is carried out.
 * Identity and Purpose – Does the organization have a clear sense of who it is, why it exists, and what it hopes to accomplish?
 * Leadership – Is there a leadership vision for the organization? How does the organization manifest leadership qualities?
 * Programming – Does the organization’s work consistently achieve high standards of excellence?
 * Management of Resources – Is the organization’s operation well-run, and does it have the resources necessary to realize its mission?
 * Audiences and Community – Does the organization have a clear sense of who it serves, and can it document the strength of its relationship to the community?

<span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt;">2. **<span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">Funding Priority: Strategic Opportunities **

The Foundation is interested in funding work that it believes is critical to **//strengthening the cultural community as a sector or within a particular field or discipline in the following two areas//**: Grants in these areas are awarded based on their **//potential to// //benefit a large number of cultural organizations//** in the region.
 * Regional advancement, including advocacy, public policy, research and demonstration models, and cooperative efforts.
 * Organizational capacity, including technical assistance.

<span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;"> Organizations must be classified as tax-exempt under Section 501(c) (3) of the Internal Revenue Code and as public charities, under Section 509(a). Individuals and for-profit organizations are not eligible for funding.
 * <span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">Eligibility Guidelines – Arts & Culture **<span style="color: #666666; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">
 * <span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">Applicant Eligibility **

Supporting organizations—those with an IRS classification of 509(a)(3)--are required to complete a //Self Certification Form// and submit a signed and completed form along with copies of their By-Laws and Articles of Incorporation.

Churches and religious organizations may be eligible to receive funding for activities that are non-sectarian and benefit the larger community. Government agencies are not generally funded, except in certain cases where there is no suitable tax-exempt organization to carry out a program or project.

Cultural organizations must complete the Pennsylvania Cultural Data Project form and submit a "Confirmation of Completion" that is available from the Report List page of the PACDP website, with their full application to the Foundation.

Organizations that do not have tax-exempt status may not use conduit organizations to apply for funding.

Organizations should have at least a three-year history of programming.

Grants are made to organizations located in and serving constituents in the six-county Greater Philadelphia region (Bucks County, Camden County, Chester County, Delaware County, Montgomery County, and Philadelphia County).

Some grants are made beyond these counties as part of our efforts to preserve and protect the Delaware River Watershed through the Environment and Communities program. The Foundation may also consider funding requests for projects that, although administered by an organization located outside this region, are expressly for the benefit of this region and its constituents. Project Eligibility ** The Foundation provides funding for a wide variety of purposes that address the priorities within its grant interest areas and to strengthen the effectiveness and capacity of nonprofit organizations that are doing this work. Examples of the types of grants awarded include: The Foundation provides operating support and indirect costs for nonprofits in the following ways:
 * <span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">
 * **New programs, expansion of ongoing successful programs, or core programs**.
 * Replication, in this region, of successful national practices.
 * **Research.**
 * Policy-related work and advocacy.
 * **Project evaluation.**
 * **Strategic planning.**
 * Organization capacity building.
 * Capital expenditures.
 * Publications and other public information projects.
 * **Collaborative efforts with other nonprofits.**
 * Most grant awards can include up to 10 percent above the total project budget's direct costs, to support indirect costs (such as rent, utilities, financial staff, leasing of office space, etc.).
 * We occasionally consider proposals for core operating support if specific operating goals are identified as anticipated outcomes of the grant, and the organization has a recently completed long-range strategic plan.
 * We support certain nonprofit agencies that provide technical assistance to nonprofits at reduced rates.
 * <span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">Ineligible Projects **

The following are broad categories of activities that we do not fund:
 * Work that does not fit our funding priorities, objectives, and strategies.
 * Institutions that discriminate, in policy or in practice, on the basis of age, color, gender, sexual orientation, national origin, race, religion, marital status, disability, veteran, or other legally protected status.
 * Scholarships, fellowships, or grants to individuals.
 * Non-public schools or individual charter schools.
 * Programs to treat or rehabilitate those with specific physical, medical, or psychological conditions or diagnoses.
 * Debt reduction.
 * Sectarian religious activities, political lobbying, or legislative activities.
 * Hospital capital projects.
 * Housing construction or rehabilitation, including financing and capital costs.
 * Profit-making enterprises.
 * Programs targeted for the elderly.
 * Medical research.
 * Direct replacement of discontinued government support.
 * National or international programs, unless funding is targeted specifically to or benefits the region.

The Foundation employs a two-step application process. First, prospective applicants should approach the Foundation by submitting a letter of inquiry, as described below. Then, if the letter of inquiry indicates a potential fit with the Foundation’s criteria, applicants will be invited to submit a more formal proposal. The William Penn Foundation requires all applicants for funding under its Arts & Culture program to participate in the [|Pennsylvania Cultural Data Project]. Refer to the "Preparing Your Full Proposal" section below for more information on this project. Bringing the Arts Back to Philadelphia's Children ****<span style="color: #666666; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;"> Publication Date: April 07, 2009 **<span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;"> At a City Hall press conference today, leaders from the William Penn and Wallace foundations, joined Mayor Michael Nutter and Dr. Arlene Ackerman, Superintendent of the School District of Philadelphia to announce the selection of a leadership entity that will guide a multimillion dollar investment in providing Philadelphia’s children with access to arts opportunities and education.
 * <span style="font-family: 'Times New Roman',serif; font-size: 12pt; line-height: 115%; text-decoration: none;">How to Apply **
 * [|**Submit a Letter of Inquiry**] ||
 * Prospective applicants should carefully review the <span style="color: #3366cc; font-family: 'Times New Roman',serif; font-size: 12pt; line-height: 115%; text-decoration: none;">[|Eligibility Guidelines]   and <span style="color: #3366cc; font-family: 'Times New Roman',serif; font-size: 12pt; line-height: 115%; text-decoration: none;">[|What We Fund]   under our Arts and Culture grantmaking program. Funding inquiries should demonstrate a familiarity with the program's relevant goals and strategies.  ||
 * [|**Preparing Your Full Proposal**] ||
 * If you are invited to submit a formal proposal, this link provides a template and other general instructions. Applicants should complete all sections in full and attach all required components. This helps us to process requests in a timely manner. ||
 * [|**Outputs and Outcomes**] ||
 * A complete proposal requires development of outputs and outcomes to help track and monitor the project's accomplishments. Definitions, examples, and a sample worksheet on completing outputs and outcomes can be found in this section. ||
 * <span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">

A competitive process led to the selection of a partnership between the Philadelphia Education Fund, Public Citizens for Children and Youth, and the Fleisher Art Memorial. The team will pursue a ten-year goal of bringing arts learning opportunities to all children and youth in the Greater Philadelphia region. Together, the three groups will strive to support and coordinate high quality arts learning offerings, both in and out of school, and to ensure equity, access, and diversity in the programming.
 * The Wallace Foundation, the William Penn Foundation, the Lenfest Foundation, the Nutter Inaugural Committee, and the Lincoln Financial Foundation ** have cumulatively contributed $1.425 million to the effort. The start up two-year budget is projected to be $2 million. The team’s proposal asked the selection committee to //“Imagine a city and region that commits to the arts as a key tool in transforming communities and keeping youth engaged and successful in and out of school… giving students the opportunity to participate in a thriving economy in which the skills of imagination and innovation are valued.”//

By creating and coordinating an arts education delivery system in partnership with schools, arts organizations, after school providers, funders, etc. and by building a citywide and eventually a regional coalition of stakeholders, the leadership team will make that vision a reality in Greater Philadelphia.

<span style="font-family: Garamond,serif;"> **__THE LENFEST FOUNDATION__** [] The Lenfest Foundation is dedicated to supporting programs primarily in the areas of education, arts and the environment. H.F. (Gerry) and Marguerite Lenfest established the Foundation in 2000. The Foundation is based in suburban Philadelphia and primarily supports organizations and programs in southeastern and south central Pennsylvania, southern New Jersey and northern Delaware. Core Programs The Foundation operates the  <span style="font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">[|Lenfest College Scholarship Program]   primarily for students in rural areas and the   <span style="font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">Lenfest Ocean Program   with the assistance of The Pew Charitable Trusts.

Grants Initiated by the Founders The Lenfest Foundation makes grants primarily initiated by its founders and approved by the Foundation’s board of directors to qualified nonprofit organizations for specific projects or activities of interest generally within the mission of the Foundation. Most of the Foundation’s funding will be directed to its core programs and grants initiated by its founders and approved by its board of directors.
 * **How to Apply For Funding**

The Board of Directors usually meets twice a year to award grants. **Proposals should be received by March 15 for consideration at the spring meeting and by September 15 for consideration at the fall meeting.**

The Foundation will accept applications for funding from qualified tax-exempt (501(c)(3)) nonprofit organizations. Send a short (two- to four-page) letter that includes the following information:
 * Amount requested from the Brook J. Lenfest Foundation
 * Description of the program where the funds will be used
 * Date by which funding should be received in order to accomplish the purpose of the grant
 * For existing programs, both short and long term outcomes information
 * For new programs, the expected outcomes and how the results of the program will be evaluated
 * Description of how the program will support the mission and interests of the Brook J. Lenfest Foundation
 * Total program budget involved in the request
 * Other support for the program received, requested or expected from foundations, corporations, government or other revenue sources

Along with the letter, please enclose the following:
 * A copy of the organization’s current year budget
 * A copy of the organization’s most recent audited financial statements
 * The titles and annual salaries of the five highest paid staff members
 * A copy of the organization’s IRS tax status determination letter along with the organization’s federal Employee Identification Number (EIN)

Applications can be mailed to:

The Brook J. Lenfest Foundation Five Tower Bridge, Suite 450 300 Barr Harbor Drive West Conshohocken, PA 19428 Phone: 610-828-4510 Fax: 610-828-0390 Email: <span style="font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">lenfestfoundation@lenfestfoundation.org

Foundation staff and/or board members will review applications for the potential to advance the Foundation’s objectives. If interested, they will contact the organization making the request to ask questions, request additional information and materials, or arrange a site visit.

The Brook J. Lenfest Foundation believes it is important to support organizations and programs that demonstrate effectiveness through documented outcomes, especially since the number of grant requests has been increasing. In order for the Brook J. Lenfest Foundation to consider funding, it will be important for you to provide information about the impact of your program on the clients you serve. Some examples include:
 * Emphasis on Outcomes**
 * participation and retention rates
 * attendance
 * academic performance
 * employment and job retention rates

Where possible we would like to know how your program participants compare with those who do not participate and any changes that you can attribute to the impact of your program. ||

_

<span style="font-family: Garamond,serif; line-height: 21px;"> **__AMJ FOUNDATION__**

Address and Contact Information
6701 Springbank Ln. Philadelphia, PA 19119-3714

Type of Grant maker
Independent foundation

IRS Exemption Status
501(c)(3)

Financial Data
(yr. ended 12/31/2008) Total Assets: $2,538,017 Total Giving: $163,175

Fields of Interest
Arts; Higher education; Human services; Jewish agencies & synagogues; Women
 * Based on internet research an example of an organization receiving an AMJ Grant is the Fleisher Art Memorial - []

Limitations
Giving in the U.S., with some emphasis on the Philadelphia, PA, area.

_

**__PENNSYLVANIA COUNCIL ON THE ARTS__**

[]


 * Grant/Application Process:**

[] <span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt;"> [|**Entry Track**] This track is for arts organizations and arts programs that are new or relatively new to the PCA and have an average fiscal size over $200,000. This track prepares an organization or program to move into the AOAP track.
 * <span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">FUNDING FOR ORGANIZATIONS **

The AOAP track is open to eligible arts organizations, fiscal sponsors, subsidiaries or departments of non-arts organizations (such as universities or colleges) that have consistently received PCA funding.
 * [|**Arts Organizations & Arts Programs (AOAP)**]

Pennsylvania Partners in the Arts (PPA) is a partnership between local organizations and the PCA. .PPA re-grants funds to support a wide variety of local and community arts activities. Grants are available for both Arts Programs and Arts Projects. [|**Arts in Education (AIE) Residencies**] The AIE Residencies foster participation in the creative process by developing and supporting quality arts education programs in Pennsylvania schools and communities. This program places high-caliber visual, performing, media and literary artists in educational settings for in-depth residencies that engage students and underscore the importance of the arts in education. [|**Accessibility to the Arts**] This division is a partnership between the PCA and VSA arts. Its goal is to create opportunities for individuals with disabilities to more fully participate in the cultural life of Pennsylvania. This funding opportunity is available to arts organizations and programs to assist them in making their arts programs, materials, and other events accessible to individuals with disabilities, and/or in encouraging the artistic participation of artists with disabilities. [|**Local Government**] This division encourages state, local government and private sector cooperation on behalf of the arts by providing state funds as a match to local government funding for the arts. The combined funds may be used for artists and arts organizations within the local government's community. [|**Preserving Diverse Cultures**] This division's "Strategies for Success" program supports organizational stabilization and expansion of arts and cultural programming in culturally-specific communities (African American, Asian American, Hispanic/Latino and Native American). Funding opportunities include: Organizational Development Awards; Arts Management Internship; and Professional Development Awards. [|**PennPAT**] Developed and funded by the Heinz Endowments, the Pew Charitable Trusts, the William Penn Foundation and the PCA, PennPAT awards funds, on a competitive basis, to presenters in support of the presentation of eligible Pennsylvania-based performing artists. PennPAT publishes a roster of all performing artists funded through the program. PennPAT also provides technical assistance funds to artists on the PennPAT roster to advance tour readiness and to improve marketing and other tour management capabilities. PennPAT is administered by the Mid Atlantic Arts Foundation (MAAF).
 * [|**Pennsylvania Partners in the Arts (PPA)**]

A limited pool of non-matching funds is available throughout the year to address specific artistic, programmatic, administrative or technical needs. Funds are generally used to hire consultants to assess a specific issue and recommend action. Additionally, the PCA offers funding for professional growth opportunities. (*could this potentially fund the Arts Educator Enrichment Program idea (arts educators create/present a collaborative seminar for fellow educators to integrate arts into their curriculum) or the New Arts Educators Peer Group (new teachers are paired with master teachers to create a supportive and inclusive environment, hopefully improving new teacher retention rate within the school district)
 * [|**Professional Development**]

**LINCOLN FINACIAL FOUNDATION** []

Application Information: [] The due date for Arts and Culture for this fiscal year has passed; however the Education due date is March 10, 2010. Here is the detailed information for the Education grant process:

Grants will expose people (regardless of age and physical/mental abilities or limitations) to educational enrichment and advancement opportunities through programs that strive to meet one of the following focus areas:

o Supporting life-long learning for individuals of all age groups.
 * Pre-K**: programs that enhance literacy and early childhood education efforts.
 * K-12**: programs that enrich academic experiences through tutoring, mentoring, leadership development, support for state academic standards, and increase access to college.
 * Adults**: programs that provide for literacy advancement, English as a second language, financial literacy, and leadership development.

Please note at this time applications are only being accepted for organizations serving Philadelphia proper, and **//not the outlying counties//**.

The Lincoln Financial Foundation established its Philadelphia-based Charitable Contributions Committee in December 1999. The committee is dedicated to improving the quality of life in Philadelphia through responsible and responsive grantmaking efforts.

The Philadelphia Charitable Contributions Committee focuses on projects and programs that have an immediate and direct impact on the welfare and quality of life of the citizens in the City of Philadelphia, specifically in the areas of arts and culture, education/workforce development, and human services. Through grantmaking in these focus areas, the committee seeks to improve the quality of life in the community and enhance the organizational capacity of nonprofit organizations in the areas of program efficiencies, financial effectiveness, board governance, and staff development. The committee gives full consideration to nonprofit organizations that meet the Lincoln Foundation's guidelines and exemplify fairness, diversity, fiscal prudence, and sound business procedures. Organizations must exhibit a commitment to their mission, as well as diversity in their board membership. They must have demonstrated success in meeting the needs of their constituents with measurable outcomes and have consistently delivered these results over time.


 * Since 1999, the committee has awarded almost $20 million to more than 100 nonprofit organizations, including Project H.O.M.E.; Police Athletic League of Philadelphia; City Year Philadelphia; Philadelphia Futures; White Williams Scholars; the Philadelphia Museum of Art; Teach For America; WHYY, Inc.; and the Philadelphia Orchestra.**

Contact Information
Any questions regarding Lincoln Financials’ philanthropic giving in the City of Philadelphia may be directed to:

Susan Segal Program Officer 2005 Market Street 1 Commerce Square 30th Floor Philadelphia, PA 19103 484 583-2898 phone 215 255-1401 fax Susan.Segal@LFG.com

The Spirit of Lincoln Financial Volunteers
From grass-roots volunteer activities to nonprofit board participation, the approximately 1,200 Lincoln Financial employees based in Philadelphia are proud to give back to their community.

Throughout the year, employees participate in a variety of activities to support the many nonprofit organizations in Philadelphia. Recently, employees helped paint a public mural with Philadelphia's Mural Arts Program. They also participated in the annual Philadelphia Cares Day, sprucing up a local elementary school; in the annual Fairmount Park Day, improving a neighborhood park; and hosted a holiday party for hundreds of students participating in the Police Athletic League. Employees ran several toy, clothing, and book drives throughout the year. Lincoln Financial's partnership with City Year Greater Philadelphia included several days of employee service working with Philadelphia's City Year Corps at neighborhood schools as well as a book drive to support a school library.

Grantee Spotlight
The Lincoln Foundation awarded more than $477,000 in grants in 2008 aimed at supplementing arts education in Philadelphia public schools. This is the fifth consecutive year that Lincoln Foundation has targeted arts education in its arts and culture grant cycle in the city.
 * Philadelphia Schools Benefit from Lincoln Foundation Arts & Culture Grants**

The arts education grants are part of $670,000 in arts and culture grants Lincoln Foundation awarded to 40 nonprofit organizations in Philadelphia this year. "Lincoln Financial Foundation is proud to support the excellent education programs that Philadelphia's arts and cultural organizations provide to the students of the School District of Philadelphia," said Susan Segal, the Lincoln Foundation's Philadelphia program officer. "So many schools lacking art and music teachers will have an opportunity to expose their students to learning about the arts and learning through the arts."

The Lincoln Foundation grants came at the same time that a three-year study confirmed strong links between arts education and cognitive development in children. The Learning, Arts, and the Brain study conducted by cognitive neuroscientists from seven leading U.S. universities, and released by the Dana Foundation, found that children motivated in the arts develop attention skills and strategies for memory retrieval that also apply to other subject areas.


 * "The future of the cultural community depends on the access our District's children have to participate and celebrate the creative and performing arts," said Dennis W. Creedon, administrator of the School District of Philadelphia's Office of Creative and Performing Arts. "With the generous support of Lincoln Financial Foundation, many of our children will have true knowledge of the diverse arts organizations of our extended community. We cannot thank them enough. They are our heroes." **

_

<span style="font-family: 'Times New Roman',serif; font-size: 12pt; text-decoration: none;">[|www.connellyfdn.org]
 * <span style="font-family: 'Times New Roman',serif; font-size: 12pt;"> __THE CONNELLY FOUNDATION__**

Connelly Foundation seeks to foster learning and to improve the quality of life in the Greater Philadelphia area. The Foundation supports local non-profit organizations in the fields of education, health and human services, arts and culture and civic enterprise.
 * Mission **

Recognizing that the Foundation's past investments in education have yielded some of its most rewarding results, [|**Learning**]   has become the cornerstone of its mission and a uniting umbrella covering all of its philanthropic interests. The Foundation also endeavors to [|**Improve the Quality of Life**]   in the Philadelphia area by promoting a culture of opportunity and civility.

The Foundation’s mission is pursued through a dual approach to grantmaking. It responds to proposals from either established or promising non-profit organizations involved in intellectual, moral, social and cultural development at all stages of life. The Foundation also works proactively, developing Initiatives in collaboration with the high schools and parish elementary schools of the Archdiocese of Philadelphia.

Ever mindful of the spirit of its founders, John and Josephine Connelly, and inspired by their faith, vision and courage, the Foundation assists members of the community attain more fulfilling and productive lives by providing incentives to learn, encouragement to achieve and reasons to hope. Grants Overview

<span style="color: black; font-family: 'Times New Roman',serif; font-size: 12pt;">To achieve its mission to foster learning and improve the quality of life, Connelly Foundation provides grants toward costs associated with programs, direct services, general operations and capital projects to non-profit organizations and institutions working in the following fields: The Foundation supports non-profits with strong leadership, sound ideas, future viability, and attainable and well defined goals. It directs its philanthropy toward 501(c)(3) organizations and institutions based in and serving Philadelphia and the counties of Bucks, Chester, Delaware, Montgomery and the City of Camden. The Foundation values the proposal process. Given its preference to review a comprehensive package as a primer for discussion, letters of inquiry or requests for pre-proposal discussions are not deemed necessary. There are determined parameters to the Foundation’s support. It provides only one grant to non-profit organizations within a twelve month period. As a general practice it does not fund advocacy, annual appeals, charter schools, conferences, environmental programs, feasibility or planning studies, general solicitations, historic preservation projects, and national organizations, organizations focused on a single disease, public schools or research. Recognizing that the Foundation's past investments in education have yielded some of its most rewarding results, Learning has become the cornerstone of its mission and a uniting umbrella covering all of its philanthropic interests. The Foundation values Learning as a primary pathway to a better life for individuals, families and communities. Many academic institutions have been beneficiaries of the Foundation's support. But opportunities for intellectual growth can also be found in different forms and settings such as the community health clinic, a daycare center for elders, a museum or a concert hall. Therefore, with Learning as its overarching philanthropic objective, the Foundation welcomes grant proposals which include creative ideas for teaching and learning, mindful that the aim of education is to impart not only facts but values as well. Examples include:
 * Education
 * Health and Human Services
 * Arts and Culture and Civic Enterprise
 * Focus on Learning **
 * Educational institutions ranging from pre-school to graduate level
 * Innovative programs for children who are gifted or challenged
 * After-school activities that keep youth safe and engaged
 * Rigorous academic instruction that prepares tomorrow's working professionals
 * Adult and senior enrichment opportunities
 * Practical health training that promotes intelligent life styles, health maintenance and disease prevention
 * Human service organizations that teach parenting skills
 * Cultural organizations that promote student and teacher appreciation for the arts through creative outreach


 * General Proposal Guidelines**

The Foundation concentrates its philanthropy in Philadelphia and its surrounding counties of Bucks, Chester, Delaware, and Montgomery in Pennsylvania and in the City of Camden, New Jersey. A single copy of the proposal must include: Applicants generally receive an acknowledgement of the receipt of a proposal within two weeks and a response within three months. Applicants may be contacted during the proposal review process to request a telephone conference, site visit or presentation. Visits to the Foundation office or approaches to staff during the proposal review process are discouraged. Organizations that have received a grant from the Connelly Foundation are required to submit a final report before submitting a new proposal for consideration. There are determined parameters to the Foundation's financial support. It provide s non-profit organizations only one grant within a twelve month period. As a general practice, it does not fund advocacy, annual appeals, charter schools, conferences, environmental projects, feasability or planning studies, general solicitations, historic preservation projects, national organizations, organizations focused on a single disease, public schools or research. Proposals should be addressed to: Connelly Foundation One Tower Bridge, Suite 1450 West Conshohocken, PA 19428 ||
 * Written proposals from nonprofit organizations are accepted and reviewed by the Connelly Foundation throughout the year. With the exception of Foundation **[|**Initiatives**]**, there are no deadlines. **
 * 1) Executive summary of the project, its goals, financial requirements and present status. A specific grant amount must be requested.
 * 2) Brief history of the organization, current operating budget, an annual report, two most recent audited financial statements along with two most recent IRS Forms 990, with all required schedules and attachments.
 * 3) Detailed proposal including project objectives, budget, timetable for implementation and target population. For capital projects (construction, renovation, equipment), expenses must be documented as follows:
 * For new construction or renovation to existing space - a complete breakdown of all costs including professional fees and expenses, a visual rendering of the project, square footage, copies of preliminary or final bids, and financing arrangements (if applicable).
 * For acquisition of equipment - a copy of the most appropriate of three bids, costs of installation and financing arrangements (if applicable).
 * 1) Anticipated outcomes and a plan for assessing them.
 * 2) Committed and prospective financial support for this project (sources and amounts); also plans to fund the project on an ongoing basis.
 * 3) Names and occupations of all directors or trustees, a listing of key staff and their qualifications, and resume’ of project officer.
 * 4) Copy of the Federal Internal Revenue Service determination letter granting tax exemption status.
 * Emily C. Riley, Executive Vice President

<span style="font-family: Garamond,serif; font-size: 19px; line-height: 21px;">
 * __LITERATURE REVIEW__**

**Employment** Among the findings: · **Artists are unemployed at twice the rate of professional workers**, a category in which artists are grouped because of their high levels of education. The artist unemployment rate grew to 6.0 percent in the fourth quarter of 2008, compared with 3.0 percent for all professionals. A total of 129,000 artists were unemployed in the fourth quarter of 2008, an increase of 50,000 (63 percent) from one year earlier. The unemployment rate for artists is comparable to that for the overall workforce (6.1 percent). · **Unemployment rates for artists have risen more rapidly than for U.S. workers as a whole**. The unemployment rate for artists climbed 2.4 percentage points between the fourth quarters of 2007 and 2008, compared to a one-point increase for professional workers as a whole, and a 1.9 point increase for the overall workforce. · **Artist unemployment rates would be even higher if not for the large number of artists leaving the workforce**. The U.S. labor force grew by 800,000 people from the fourth quarter of 2007 to the fourth quarter of 2008. In contrast, the artist workforce shrank by 74,000 workers. Some of this decline may be attributed to artists’ discouragement over job prospects. · **Unemployment rose for most types of artist occupations**. Artist jobs with higher unemployment rates are performing artists (8.4 percent), fine artists, art directors, and animators (7.1 percent), writers and authors (6.6 percent), and photographers (6.0 percent). · **The job market for artists is unlikely to improve until long after the U.S. economy starts to recover**. Unemployment is generally a lagging economic indicator, or a measure of how an economy has performed in the past few months. · **"We conducted the research to quantify what we hear in the field and read in the news every day, that art workers -- alongside all workers -- are suffering," said NEA Director of Research & Analysis Sunil Iyengar. "Unfortunately, the data reveal that artist unemployment is increasing at more rapid rates than for the total workforce, and could have more of an effect over time."** · The contraction of the arts workforce has implications for the overall economy. **A May 2008 NEA study revealed there are two million full-time artists representing 1.4 percent of the U.S. labor force, only slightly smaller than the number of active-duty and reserve personnel in the military (2.2 million)**. More recently, a **National Governors Association report recognized that the arts directly benefit states and communities through job creation, tax revenues, attracting investments, invigorating local economies, and enhancing quality of life. There are 100,000 nonprofit arts organizations that support 5.7 million jobs and return nearly $30 billion in government revenue every year, according to a study by Americans for the Arts.**
 * __<span style="-webkit-text-decorations-in-effect: underline; font-family: Garamond,serif;">National Endowment for the Arts Announces Research on Artist Unemployment Rates __**
 * March 4, 2009**
 * Washington, D.C.** — Unemployment rates are up among working artists and the artist workforce has contracted, according to new research from the National Endowment for the Arts. **//Artists in a Year of Recession: Impact on Jobs in 2008//** examines how the economic slowdown has affected the nation’s working artists. The study looks at artist employment patterns during two spikes in the current recession – the fourth quarters of 2007 and 2008. This downturn reflects larger economic declines: a Commerce Department report last week noted a 6.2 percent decrease in the gross domestic product in the last quarter of 2008.

The NEA issues periodic research reports, brochures, and notes on significant topics affecting arts policy, often in partnership with other federal agencies such as the Department of Labor and the U.S. Census Bureau. Other recent NEA reports on the arts economy include Artists in the Workforce, on artist employment and demographic trends, and All America’s a Stage, which examines the fiscal health of nonprofit theaters.
 * Resources**

[|www.edweek.org/ew/events/chats/2009/05/19/index.html?qs=Live+Chat:+Career+Strategies+for+Teachers]
 * __Education Week__**
 * –** Interesting live chat resource for new teachers and employment strategies/statistics – “ Two experts in the field of education employment discussed current opportunities for teachers and took questions on the best ways to find a new teaching position or advance in the profession.”


 * Arts Education Model Development**

Model Development and Dissemination Grants Program-Arts in Education []
 * US Department of Education**


 * CFDA Number: ** 84.351D
 * Program Type:** Discretionary/Competitive Grants
 * Also Known As:** Arts Models

**PROGRAM DESCRIPTION** The program supports the enhancement, expansion, documentation, evaluation, and dissemination of innovative, cohesive models that demonstrate effectiveness in:
 * Integrating into and strengthening arts in the core elementary and middle school curricula;
 * Strengthening arts instruction in those grades; and
 * Improving students' academic performance, including their skills in creating, performing, and responding to the arts.

Grants are designed to enable LEAs and organizations with arts expertise to further create and develop materials for the replication or adaptation of current comprehensive approaches for integrating a range of arts disciplines-such as music, dance, theater, and visual arts, including folk arts-into the elementary and middle school curricula. Funds must be used to: ** Applicants must describe an existing set of strategies for integrating the arts into the regular elementary and middle school curricula, which could then successfully be implemented, expanded, documented, evaluated, and disseminated.
 * Further the development of programs designed to improve or expand the integration of arts education in elementary or middle school curricula;
 * Develop materials designed to help replicate or adapt arts programs;
 * **Document and assess the results and benefits of arts programs; and**
 * Develop products and services that can be used to replicate arts programs in other settings.

Who May Apply: Local Education Agencies, Nonprofit Organizations Eligible applicants include:
 * Eligibility**
 * 1) One or more local education agencies (LEAs), including charter schools that are considered LEAs under state law and regulations, which may work in partnership with one or more of the following:
 * A state or local nonprofit or governmental arts organization;
 * A state education agency (SEA) or regional educational service agency;
 * **An institution of higher education (IHE); or**
 * A public or private agency, institution, or organization, such as a community- or faith-based organization; or
 * 1) One or more state or local nonprofit or governmental arts organizations that must work in partnership with one or more LEAs and may partner with one or more of the following:
 * An SEA or regional educational service agency;
 * **An IHE; or a public or private agency, institution, or organization, such as a community- or faith-based organization.**

//Theatre education advocates consider the future//
 * Research on Higher Education and Arts Education**
 * Educational Theatre Association – Teaching Theatre -** **Spring 2001 -** **Volume 12 · Number 3**

James Palmarini, //editor// Laura C. Kelley, //assistant editor// William A. Johnston//, art director// Kim Graham, //graphics assistant// Donald A. Corathers, //director of publications// Published by the Educational Theatre Association Bob Henrichs, //president// Phillip W. Moss, //vice president// Michael Peitz, //executive director// © 2001 by the Educational Theatre Association

When former President Clinton signed the **Goals 2000: Educate America Act in 1994**; it signaled an unprecedented federal commitment to American education. The act had particular significance for theatre and other areas of arts education**: the legislation included the arts as one of the eight core subjects, suggesting that they were no longer a curricular extra but an area of study as important as math, science, or any other subject.** In the years since the act was passed, some progress has certainly been made. **Most states have adopted or at least adapted the National Standards for Arts Education (also issued in 1994**). Discussion about assessment, curriculum, teacher certification and training, and the need for research has become more prominent. But so have school funding budget cuts and a concern that the arts are being edged out of the curriculum rather than being folded in. So, while there is some reason for optimism, it is just as certain that there is work to be done. Recently //Teaching Theatre// asked an assortment of arts education advocates and theatre educators the following: **//What do you think will//** **//be the most important issue facing K-12 education//** **//during the next five years?//**


 * //Michael Peitz, executive director, Educational Theatre Association//**


 * Getting those in local, district, and state decision-making positions to understand the broad value of theatre education,** once we do that, then real change can happen in school theatre curriculum. To do it we’re going to have to start by publicizing the current data and research that proves what those of us in the field already know—**that theatre education has a pro-found** **impact on the whole education of the child.**


 * What we need to be doing is showing what skills are learned as a result of theatre training and how they can be applied in the workplace. Things such as creative thinking, problem solving, teamwork, seeing things from other points of view, appreciation of diversity, dedication, understanding deadlines, project execution, and emotional understanding and growth are harder to measure, but it can done.**

Theatre advocates and educators must, one, make sure they **understand the difference between causal and correlative research, and two, be prepared to document and explain this data to decision makers in a way that changes the way they view theatre education.** The bottom line for theatre education is advocacy at the grassroots level—and that means we have to do it ourselves.


 * //Maureen Johnson, upper school theatre teacher, Lake Ridge Academy, North Ridge, Ohio, and author of//** **Middle Mania! Imaginative Theatre** **Projects for Middle-School Actors**


 * Theatre teachers’ training and certification and the development of a more varied curriculum for these teachers** specifically, I’d like to see training programs that **use** **veteran theatre teachers to mentor new teachers**, and, as part of that process, more emphasis on observation, curriculum exploration, and review of **research** **that’s been done on assessment and the** **teaching of drama during the last ten years.**

The City of Philadelphia Office of Arts, Culture and the Creative Economy (OACCE) works to improve access to the arts for both residents and visitors; expand arts education for young people; oversee all the City’s arts programs; support the growth and development of the City’s arts, culture, and creative economy sector, by promoting public and private investment in the creative economy sector; coordinate with relevant City agencies to unify the City’s arts efforts; and serve as a liaison between the City’s many cultural institutions. Office of Arts, Culture and the Creative Economy City Hall Room 708 Philadelphia, PA 19107 Phone: 215-686-8446 Fax: 215-686-4520 ** Staff List: ** Moira Baylson, Deputy Cultural Officer Margot Berg, Public Art Director Tu Huynh, Art in City Hall Program Manager Betsy Riley, Executive Assistant Theresa Rose, Public Art Project Coordinator Gary P. Steuer, Chief Cultural Officer Arts in Education** The Office of Arts and Culture is represented on the advisory boards for the Greater Philadelphia Arts and Sciences Education Network (GPASEN) and the Philadelphia Arts in Education Partnership (PAEP). These organizations were developed as a result of the decentralization of the Philadelphia School District and the subsequent need for the arts in education providers in the cultural community to communicate with individual schools instead of the school district for programming dollars. // GPASEN is currently on hold due to development and funding issues. PAEP is managed by Dr. Jan Norman of the University of the Arts, advocating for and promoting the outstanding artists, artistic resources and educational institutions in Pennsylvania's most populous community. //  <span style="color: #333333; font-family: 'Times New Roman',serif;">
 * Office of Arts and Culture - OACCE**
 * Mission **
 * Contact Information **

** Big Canvas Research and Information**
 * Great Expectations Website -** [|**http://www.greatexpectationsnow.com/**]

Nearly everyone who's attended a Great Expectations forum agreed on one point: One of the best things about living in the Philadelphia region is the wealth of things to do.
 * The Big Canvas: A regional dialogue on art and culture ... and your wallet**

The Big Canvas aims to create a regional cultural strategy that citizens will support because they helped to craft it. All of the citizen and expert contributions came together at [|**The Big Canvas Confab**] on Dec. 6, 2008.

Leading up the Confab was the [|**summer round**] of forums, which got under way in July. Citizens gathered at five events held throughout the region to talk about who uses arts and culture resources, what values the arts and culture bring to the community, what barriers there are to participating, and what should be prioritized. The [|**fall round**] of forums focused on [|**The Big Canvas Issue Guide**]. The guide featured four approaches to a regional arts plan, each of which was based on the discussions held during the summer. These included: 2. [|**Nurture Children's Future**] 3. [|**Build the Creative Economy**] 4. [|**Foster Quality of Community**]
 * 1.** [|**Extend the Arts Experience**]

The Big Canvas Confab - Group Two** Twenty-five to thirty people were part of this group. Attendees included: Fran Orlando Arts Community Performing Arts Denise Wilson, Urban Oasis Kimberlie, an actress from Phoenixville Moderators, Chris Satullo and Dick Gross What elected officials thought most important: State Rep. Josh Shapiro of Montgomery County feels bad economic times do not have to interfere with creative thinking, innovative approaches and objectives. As things evolve here, he says he will push it in Harrisburg. There was an Arts Compact that met years ago that did not work out because of competing agendas and because counties did not supply resources. What were the overall goals? Need to eliminate these conflicts. He feels he needs to open his own kids eyes to art. If kids are interested in the arts, their parents will be. He wants to see Philly folk made aware of suburban art. Arts need to get out of silos and get a broader perspective.
 * Al Brown of the Point Breeze Performing Arts Center ** [] - ***Programs***
 * Margie of the Theatre Alliance **
 * Deputy Speaker of the House Josh Shapiro along with Legislative Aide Mark Koenig **

What the arts and culture leaders/workers thought most important: • Point Breeze head: ("Tough area" - his phrase.) Kids need to pick positive opportunities. "You can achieve!" He feels "little dogs" badly need funding - not just "big dogs." • Theatre Alliance: They have to work hard just to survive. Should be supported through bad economic times. Some organizations have already been lost. • We lag behind other cities (citizen - corp.) in support of arts and culture. Problems are of long-standing. The way the Barnes has been handled is an example. • The media gives arts and culture short shrift. Not good coverage. • Urban Oasis: Urban youth underserved. Need to infuse support here. (Centennial District mentioned). Councilperson Blackwell mentioned as supportive. What about auctions to support artists? • Josh Shapiro: Hears similar things in the suburbs - Abington - Is there any collaboration? Cultural institutions hear this a lot. Time is an issue - hard to find time to do this. • Art Aware: Trying to maintain arts in the city schools. Satisfy older people. Reach out to nearby schools. • Kimberley Grey - Grey Charitable Trust: In competition for funds. Need a structure to decide how to allocate scarce dollars. Not everyone gets a share. Perhaps an organization could take on the Kimmel as a project - what to do with the space?

Common ground: • Ideas - but most accepted them as ideas the whole group favored. → State: Arts should be required throughout all grade levels. (Minnesota has such a fund.) → Fran - Bucks County: Arts Mobile - Trying hard to keep two things going - funds needed. Has had to raise fees. Projects are there. → Phoenixville actor: Theater to reach a broad range of people. Make theater tickets more important than a dinner out. • General agreement: → Foundations are critical in the Phila. Area. → Gaming - any funds available there?
 * → Sante Fe - Good model for the arts?**

The Big Canvas: Summary of Findings
 * Summary of Findings**

THEMES

Broad ideas that should animate the strategy — and in turn be used to sell it to the public:

● **Embrace “creativity” as a regional motto and global brand.** Creativity is a participatory habit that buoys the economy, bonds the community, and bridges barriers of class, race and age. Philadelphia is a distinctively creative place — after all, America was created here — and would become more so if the region consciously pursued this goal.

● **Think in the active, not passive, voice.** Culture thrives on participating and doing, not just attending. Don’t just think in terms of professionals and audiences. Celebrate and expand ordinary citizens opportunities to make art. What’s more, make being part of an audience as participatory a learning experience as possible.

● **Bridge barriers to access, whether concrete or mental.** Residents praise the quality and diversity of cultural offerings, but warn that powerful barriers of cost, access and class prevent people from sampling them more widely. The cost and inconvenience of transit and parking may be a bigger impediment than ticket prices. Information on the plethora of events across the region is scattered and incomplete, and even excellent Web sites are unknown to many. Factors of snobbery, intimidation and fear can prevent possible patrons from ever reaching art’s front door. So elitism is out; enthusiasm and access are in.

● **Be a thread in a fabric, not a sector in a silo.** Citizens view arts and culture not as a “sector,” but as part of the fabric of their lives in a community. They say the arts help communities to express who they are, to foster connections and solve problems. So cultural leaders should be eager to make common cause with other community goals that (in citizen thinking) are tightly interwoven with arts and culture e.g., education, open space, job creation and crime prevention. ● **See the whole child as the work of art.** Arts education is not only, or even, primarily just about “art.” The arts are a vehicle for educating the whole child, in all subjects. They are particularly valuable in reaching the nontraditional or alienated learner. They build skills of collaboration and expression that are valued by employers and needed by communities.

PRINCIPLES These are the practical dos and don’ts of crafting a strategy and putting it into action.

◆  ** Ownership is nine-tenths of success. **  For a regional strategy to succeed, a regional entity must own responsibility for it.

◆  ** Regional had better really mean **   //** regional **//**. **  The entity that owns the strategy must be truly diverse, across geography, race, art forms, profession, age and class. An arts strategy run exclusively by and for arts professionals will never fly. The board should include politicians and business leaders, so that the region’s power structure feels it has a stake in the strategy.

◆  ** Don’t try to sell green bananas to anxious people. **  This perilous economic moment is not ripe for talk of new taxes to feed an arts and culture fund. But citizens see plenty of useful things that can be done now to prepare the ground and sharpen the message for a regional fund.

◆  ** Focus on the three C’s: Communicate. Coordinate. Collaborate. **  Too many resources are wasted and opportunities lost, citizens feel. Information is scattered and confused; groups working on similar goals don’t know one another, and the wheel is forever being invented anew. Following the three C’s will reassure taxpayers that existing resources are being well-spent and any new funds will be wisely used.

◆  ** Don’t just feed the big dogs and the usual suspects. **  Any strategy viewed mostly as bolstering well-known institutions in Center City will never earn broad support from the neighborhoods and the suburbs. Any fund must have a clear, transparent, public process for awarding grants or aid. And it should benefit new, as well as traditional, recipients.

◆  ** Play it measure for measure. **  Figure out how to measure and describe success in terms that have meaning for ordinary citizens. Be accountable for succeeding on those terms, then advertise your successes aggressively.

◆  ** Getting there (and back) is half the battle. **  Addressing the access problems related to mass transit and parking is vital.

◆  ** Education doesn’t happen just in schools. **  Any good arts strategy will focus on education, but it won’t focus exclusively on kids in schools. Programs at arts venues, after-school programs and recreation centers can be just as important. And educational programs should extend to adults, too. Talk about arts education in terms that include and attract people who don’t have young children.

ACTIONS These are specific steps for preserving, extending or enhancing cultural offerings that made citizens’ eyes light up. These are the type of “sticky” ideas that would attract public support to a strategy.

■ Create a central Web. 2.0 clearing house for arts and culture in the region. Market the heck out of it. Give it powerful search tools. Make it easy to contribute listings. Enable social networks connecting arts patrons, professional artists and amateur enthusiasts. Encourage ratings and reviews a la Netflix, RottenTomatoes.com or Amazon.com.

■ Collaborate with SEPTA to create a strategy for better connecting audiences to venues. This strategy would include: ■ A **“Culture Passport”** — This would be a”smart card” that users could load with value to buy discounted admissions as well as transit and parking. Create rewards for using the passport to sample a broad array of activities. ■ The **Philly Van Go “culture bus” **— A transit service to connect people with underserved venues, using art themes to enhance the trip. Could include a charter or “mystery trip” approach, using the Web 2.0 site to promote the service and book business.


 * ■ Help schools continue field trips to arts and culture venues.**


 * __■__ Fund artists-in-residence at schools, after-school programs and recreation programs.**

■ Begin **an “Art Ambassador” program** that encourages people to sample art forms and venues they might otherwise not try. (Use the Web 2.0 site to make these matches.)

■ Set up a regional space bank for performance, exhibition and rehearsal spaces.

■ Set up a regional information-sharing network for community arts centers

■ **Organize the region to lobby Harrisburg to incorporate the arts more meaningfully and concretely into state academic standards.**

■ Craft a replicable strategy for using community squares and parks as democratic arts venues.

■ Set up TKTS booths for regional arts attractions.

■ Make Philly a center for celebrating emerging “pro-am” arts.

Supporters of this choice believe that public money for arts and culture will always be limited. Therefore, the wisest strategy is to target any new money to the cause that generates the broadest buy-in and offers the most long-term benefits: youth.
 * Approach II for The Big Canvas Issue Guide - Nurture Children's Future**


 * In this view, arts programs for youth – out of school as well as in – have multiple benefits that justify public support. Arts and culture activities can expand young horizons, snare the interest of nontraditional learners, motivate kids to stay in school, and open them up to new career prospects.**
 * A focus on youth is also good for cultural organizations feeling economic strains. Bringing youth into arts venues builds audience both in the short term (parents go where their kids go) and, most important, in the long term. ** Ample research shows that children exposed consistently and well to the arts at an early age become the most enthusiastic arts patrons as adults.

Advocates of this choice believe that national educational policy, with its testing mania under No Child Left Behind, has lost sight of the enduring value of arts education. In this view, the Philadelphia region can reap long-term benefits from taking aggressive steps to repair locally the ill effects of this national mistake.

This approach also addresses concerns about the “wired” generations now coming of age, which can seem addicted to technology, short on attention and patience. It notes that the Web and digital technologies enable young people to make remarkably polished multimedia art. Recognizing that many young people will step into the arts only through a digital door; this approach wants to invest in ways to help them take that step. HOW TO RAISE MONEY FOR THESE GOALS: **
 * This approach’s bottom line: Investing in youth is simply the smartest long-term strategy. **

Supporters of this choice would be happy to see a regional fund set up to fulfill this mission. But that would take a lot of time and political capital; rather than wait; they’d prefer to begin differently. **First, create a coherent, compelling strategy for bringing the benefits of arts and culture to the region’s youth, particularly the disadvantaged. Then, sell that strategy to a variety of funders in the public, private and philanthropic sectors.**

This a la carte strategy to finding money for initiatives will probably bear fruit more quickly than the uphill climb of getting a regional fund approved, advocates of this choice believe. And, they remind us all, needy kids are waiting. ■ **Provide matching funds for school districts that agree to pick up a majority percentage of the cost of hiring new arts and music teachers.**
 * SUPPORTERS TEND TO FAVOR THESE ACTIONS: **

■ Underwrite artist-in-residence programs in schools.

■ Create a Kids Passport to the arts, a card granting discounted youth admissions to a host of cultural venues throughout the region. Every child would be eligible for the pass, but the cost of the pass would be discounted or eliminated for lower-income youth. The regional fund would underwrite this subsidy; cultural attractions would provide the base discounts for the passport as a loss leader.

■ Fund arts-oriented after-school, summer and weekend programs.


 * ■ Help schools and other youth programs obtain the high-tech equipment and Web access that enable young people to experiment with new forms of multimedia art.**

■ Make grants to school districts to allay the fuel costs associated with arts and culture field trips.

■ **Create programs to train the arts educators needed to make this strategy work, and give young people incentives to enter the field.**

■ Make grants to institutions to do innovative outreach and education programming for disadvantaged youth.

■ Underwrite internships and summer jobs for local youth with arts and culture organizations.

■ Fund youth art contests, juried exhibitions and galleries, with a stress on Web-based, multimedia arts. ARGUMENTS FOR THIS APPROACH: ** ✓ Taxpayers as a rule don’t care about the staffing and money woes of cultural organizations. But they do care about children. **Pleas to invest in youth have a much better chance of earning tax support.**

✓ A multipronged strategy that doesn’t just send money to public schools will be more likely to get support from taxpayers suspicious of school bureaucracies.

✓ **Exposing children consistently, from an early age, to arts and culture expands their horizons, instills a taste for art, and creates the audience on which artists and organizations will depend in the future.**

✓ **Arts and culture experiences help children learn in all subjects. They encourage right-brain learners; teach discipline, collaboration and planning; motivate students to stay in school and to learn basic academic skills that are needed to master their favorite art forms.**

✓ **Arts and culture build self-esteem and a sense of possible futures that can help steer children away from drugs and crime, and toward community and ambition.**

✓ This approach counters the testing mania fueled by No Child Left Behind that has damaged arts and music education in many school districts.

✗ Programs for youth are obviously popular, but they usually get set up as an add-on that strains arts organizations, actually worsening their structural budget and staffing woes.
 * ARGUMENTS AGAINST THIS APPROACH: **

✗ **Despite the rah-rah rhetoric, research is at best sketchy and at worst unconvincing that arts provide the academic benefits this choice claims.**

✗ The public is suspicious, with good reason, of any plan to pour new money into unaccountable public school districts.

** ✗ The lack of qualified, trained arts educators is severe. A strategy that doesn’t address this problem first and fully is doomed. ** ✗ Plenty of suburban communities do a fine job on youth arts already. Absent a coordinating regional entity, this strategy could result in the rich – i.e. those communities with a strong youth arts infrastructure in place – just getting richer.

✗ Lots of people have no children, or their children are grown up. Are they to be left out of the region’s cultural strategy?

** ✗ The crying need that these kids will have when they grow up is a job. That’s where the focus should be, on bringing good jobs to the region. **

Multi-Million Dollar Arts for Youth Initiative to be Led by the Philadelphia Education Fund, Public Citizens for Children and Youth, and Fleisher Art Memorial PHILADELPHIA - A partnership of the **Philadelphia Education Fund, Public Citizens for Children and Youth (PCCY) and the Fleisher Art Memorial** has been selected to lead the Arts for Children and Youth of Greater Philadelphia initiative. The team will pursue a ten-year goal of bringing arts learning opportunities to all children and youth in the Greater Philadelphia region. Arts for Youth will strive to support and coordinate high quality arts learning offerings, both in and out of school, and to ensure equity, access, and diversity in the programming.
 * __ARTS FOR YOUTH WEBSITE AND INFORMATION__**
 * Article from OMG Center for Collaborative Learning Website **
 * []**

“The Philadelphia Education Fund recognizes the arts as an important education reform tool. We are pleased to be partnering with PCCY and the Fleisher Art Memorial to ensure access to the arts for ALL children, both in school and out of school, and pleased to help shape an arts initiative that is a worthwhile investment in our children and in our regional economy,” said Carol Fixman, Executive Director of the Education Fund. The Wallace Foundation, the William Penn Foundation, the Lenfest Foundation, and the Nutter Inaugural Committee have cumulatively contributed $1.405 million for this work. The start up two-year budget is projected to be $2 million.

“In reopening the Office of Cultural Affairs and including “Creative Economy” in the new title, Mayor Nutter acknowledged that the arts are not just an important part of a high quality education, but they are also vital to remaining competitive in the 21st century economy. By giving the children of Greater Philadelphia the opportunity to develop skills like creativity and reflective practice, Arts for Youth is an investment in our workforce,” said Chief Cultural Officer Gary Steuer.

The selection of the Ed Fund/PCCY/Fleisher partnership was the result of a year-long process that engaged community stakeholders, school officials, cultural organizations, and potential funders. More than 150 community members participated in conversations about how to leverage the great cultural wealth of Philadelphia to benefit the region's children. After a highly competitive RFP process, the Ed Fund/PCCY/Fleisher team was selected to lead the ongoing effort. The OMG Center for Collaborative Learning facilitated and staffed the community engagement and selection processes.

**The team's proposal asked the selection committee to “Imagine a city and region that commits to the arts as a key tool in transforming communities and keeping youth engaged and successful in and out of school… giving students the opportunity to participate in a thriving economy in which the skills of imagination and innovation are valued.”** By creating and coordinating an arts education delivery system in partnership with schools, arts organizations, after school providers, funders, etc. and by building a citywide and eventually a regional coalition of stakeholders, the leadership team will make that vision a reality in Greater Philadelphia.

A formal press event to present the Arts for Youth leadership team to the community will be announced in the near future.


 * Philadelphia Education Fund** is an independent non-profit organization dedicated to improving the quality of public education for underserved youth throughout the Philadelphia region. www.philaedfund.org


 * Public Citizens for Children and Youth** is the region's major child advocacy organization, and has been working for over 25 years to improve the lives and life chances of our region's children through thoughtful and informed advocacy. PCCY runs the Picasso Project which increases arts education opportunities for students in the School District of Philadelphia and improves the capacity of schools to provide arts education experiences. www.pccy.org


 * Fleisher Art Memorial** is a community-based art center with a 100+ year history of making art accessible to everyone, regardless of economic means, background, or artistic experience. Fleisher is well known for its in-school and after-school arts education programming for youth. www.fleisher.org


 * OMG Center for Collaborative Learning** is a research and consulting organization that provides evaluation, strategy research and development, and capacity building services to the philanthropic, non-profits, and government sectors. www.omgcenter.org

//** What is Arts for Children and Youth? **// Arts for Children and Youth is a community-wide endeavor to better support and coordinate current efforts to increase equity, access, quality, and diversity of arts offerings, during the school day and after-school, for children and youth, families, and communities in the Greater Philadelphia area.
 * __GENERAL INFORMATION ON ARTS FOR YOUTH__**

The vision we are working towards is a region where //all// children and youth will be able to experience, experiment, and learn in and through the arts during their time in school and in their communities.

This vision can only be achieved through a community-wide effort that mobilizes diverse people and organizations to build an integrated arts education system and generate the resources necessary to sustain it. We have many assets in Philadelphia on which to build, but to take this initiative to scale we are looking beyond the status quo, to develop new systems, new capacities, and new funds.

//**Who is involved?**//

Since the initial Arts for Youth community meeting in March 2008, this effort has been driven by a group of approximately 70 community members, but we are always eager to expand our ranks. These community members worked in committees to develop the RFP, which will identify a leadership entity to manage the Arts for Youth initiative going forward. Currently, Arts for Youth committees include representatives from arts and culture organizations, parents, educators, artists, after school providers, school district representatives, city policy makers, community-based organizations, higher education representatives, business people, philanthropists, and foundations. We believe that community collaboration and diverse perspectives are essential for Arts for Youth to succeed and welcome your participation in this effort.

If your organization does not have the capacities described in the RFP and will not be submitting a proposal, there are plenty of other opportunities to engage in the Arts for Youth initiative. The leadership entity will be tasked with managing this work; however, they will need to partner with program providers, community organizations, etc. to implement the Arts for Youth Ten Year Vision**.** In the meantime, if you would like to participate in the next six months of planning, you are invited to join any of the Arts for Youth committees.