Program guidelines for fiscal year 2001

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GEORGIA COUNCIL FOR THE ARTS

Program Guidelines for Fiscal Year 2001

~ Organizational Grants: General Operating Support
~ GCA/YA Artists-in-Residence Program
~ Touring Program

~ Organizational Grants: Project Support
~ Traditional Arts Apprenticeships
~ Touring Artists
~ The Georgia Challenge Program

~ Georgia Folklife Program ~ Technical Assistance Program ~ Grassroots Arts Program

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OUR MISSION

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The mission of the Georgia Council for the Arts is to encourage excellence in the arts, to support the arts' many forms of expression

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and to make the arts available to all Georgians by providing funding, programming, and other services.

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The Governor appoints a 26-member Arts Council whose members advise the Georgia Council for the Arts.

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ARTS COUNCIL MEMBERS

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AT-LARGE

DISTRICT 1

DISTRICT 2

DISTRICT 3

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Beth Holder, Atlanta Rosa Tarbutton, Atlanta

Eileen Humphlett, St. Simons Island Joy Jinks, Colquitt

Sandi Beals, Savannah

T. Marshall Jones, Albany

Lana Miles, Gay Linda Summerlin, Riverdale

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Alice Richards, Carrollton

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Lynwood Hall, Moultrie

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DISTRICT 4 Jan Selman, Decatur

DISTRICT 5 Adrian King, Atlanta

DISTRICT 6

DISTRICT 7

Lisa Ackerman Cheeley, Duluth Paula Mitchell McClung, Winston

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Mickey Hutchinson, Atlanta Henry Turner, Atlanta

Debbie Callaway, LaGrange

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DISTRICT 8

DISTRICT 9

DISTRICT 10

DISTRICT 11

Sue Clark, Waycross

Angela Brown, Gainesville

Susan Rice, Augusta

Ruth Bracewell (Chair), M~dison

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Rick Hutto, Macon

Ken Hawkins, Carton

Judith Fennell Ruffin, Augusta Howard B. Stroud, Sr., Bogart

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INTRODUCTION

Each year, the Georgia Council for the Arts awards more than $4 million to present, preserve, promote and produce the arts in Georgia. The Georgia Council for the Arts supports non-profit arts organizations, educational institutions, community arts councils, municipal arts agencies, school systems, and other entities that offer arts programming .
To make it easier for grant applicants, we have combined ALL PROGRAM GUIDELINES FOR THE FISCAL YEAR 2001 (July 1, 2000 to June 30, 2001) into this booklet.
Organizational Grants: General Operating Support Organizational Grants: Project Support The Georgia Challenge Program Georgia Folklife Program Traditional Arts Apprenticeship Technical Assistance Touring Program Touring Artists Artists-in-Residence Grassroots Arts Program
To request grant applications, please contact the Georgia Council for the Arts at 404-685-2787.

Introduction

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TABLE OF CONTENTS

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~ OUR MISSION ... page 2

~ TRADITIONAL ARTS APPRENTICESHIPS

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~ ARTS COUNCIL MEMBERS ... page 2

GUIDELINES ... page 38

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~ TECHNICAL ASSISTANCE PROGRAM

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~ INTRODUCTION .... page 3

GUIDELINES ... page 42

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~ TABLE OF CONTENTS ... page 4

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~ TOURING PROGRAM GUIDELINES ... page 45

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~ SEMINARS FOR ORGANIZATIONAL GRANT

~ TOURING ARTIST GUIDELINES ... page 47

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APPLICANTS ... page 5

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~ ORGANIZATIONAL GRANTS: GUIDELINES ...
page6

~ GRASSROOTS ARTS PROGRAM ... page 49 ~ THE GEORGIA CHALLENGE PROGRAM ... page 50

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~ ADDITIONAL INFORMATION CONCERNING

~ ADDITIONAL RESOURCES ... page 52

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ACCESSIBILITY FOR PEOPLE WITH

~ CONTACT INFORMATION ... page 53

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DISABILITIES ... page 20

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~ GCAjYAARTISTS-IN EDUCATION RESIDENCY

~ ARTS COUNCIL STAFF ... page 54

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PROGRAM GUIDELINES ... page 22

~ PANELIST RECOMMENDATION FORM ... page 55

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~ GEORGIA FOLKLIFE PROGRAM GUIDELINES
.... page 33

~ RETURN RECEIPT CARD ... page 59

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Table of Contents

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SEMINARS FOR ORGANIZATIONAL GRANT APPLICANTS

The Georgia Council for the Arts will host six seminars to assist you in applying to our organizational grants program. Staff members
will be available to answer any questions you may have. If you are unable to attend one of these meetings, staff members are
always glad to assist you by telephone if you have any questions about our programs or application procedures.
For directions to a seminar, contact the local telephone number listed. For further information, call GCA at 404-685-2787.
November 1, Monday, 1:00 p.m.- 4:00 p.m., Greater Augusta Arts Council, Lucy Craft Laney Museum, 1116 Phillips Street, 706-724-3576, Augusta .
November 2, Tuesday, 10:00 a.m. -1:00 p.m., Department of Cultural Affairs, 9 West Henry Street (Between Bull and Whitaker), 912-651-6417, Savannah.
November 3, Wednesday, 10:00 a.m.- 1:00 p.m., Colquitt County Arts Council, 401 ih Avenue, 912-985-1922, Moultrie.
November 4, Thursday, 10:00 a.m. - 1:00 p.m., Georgia Sports Hall of Fame, 301 Cherry Street, 912-752-1585, Ext. 100, Macon.
November 9, Tuesday, 10:00 a.m.- 1:00 p.m., Georgia Council for the Arts, 260 14th Street, NW, Suite 401, 404-685-2787, Atlanta .
November 10, Wednesday, 10:00 a.m. -1:00 p.m., The Arts Council Depot, 331 Spring Street, N.E., 770-534-2787, Gainesville.
November 10, Wednesday, 6:00p.m.- 9:00p.m., Georgia Council for the Arts, 260 14th Street, NW, Suite 401, 404-685-2787, Atlanta .

All sites are wheelchair accessible. Please contact the seminar site directly to make other access arrangements. Any group incorporated in Georgia as a not-for-profit organization, and having 501 (c)(3), tax-exempt status is invited to send a representative . No prior registration is necessary.

Seminars for Organizational Grants

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ORGANIZATIONAL GRANTS: GUIDELINES

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APPLICATION DEADLINE

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Postmarked or hand delivered on or before January 18, 2000. Hand delivered applications must be delivered by 5:00 p.m. on the

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deadline date. We will not accept late applications. Faxed applications are not accepted.

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GENERAL INFORMATION

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Although the term "grant" is used in these guidelines, any funds awarded by the Georgia Council for the Arts (GCA) represent a legal,

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binding contract with the State of Georgia to provide the services that are outlined in the application's Scope of Services.

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Support for GCA's programs comes primarily from the State of Georgia through an appropriation from the General Assembly. The

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GCA receives additional support from the National Endowment for the Arts and local matching funds.

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GCA AND GENERAL OPERATING SUPPORT

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General operating support funding allows the applicant organization to designate the grant funds awarded as part of the

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organization's overall arts operating budget, rather than earmarking the funds for one or more specific projects.

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GCA AND PROJECT SUPPORT

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The primary purpose of GCA's Project Support Grants is to provide limited funding for one-time projects, or to assist an

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organization in starting a new program that will be sustained in the future without GCA support. Although it is possible to

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Organizational Grants.; Guidelines

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receive support for the same project for more than one year, arts organizations administering ongoing programs are encouraged to talk with GCA staff about applying for general operating support. All potential applicants for project funds are encouraged to contact a grants manager (See "CONTACT INFORMATION" Section) before applying to ensure that this is the appropriate grant category.
Project support allows an organization to apply for funding for a particular arts program. An application for project support may include more than one project proposaL Separate budget breakdowns and details must be provided for each project.
Entities such as institutions of higher education and local/state governments must abide by the limitation on one application per deadline although one application may include project proposals from more than one department or division .

ELIGIBLE APPLICANTS

Organizations eligible to apply to the GCA for funds must be incorporated in the State of Georgia and must be classified by the Internal Revenue Service under Section 501 (c)(3) of the IRS Code as nonprofit, tax-exempt organizations to which donations are deductible as charitable contributions under Section 170(c}(2}. Public educational institutions and units of local/state government also are eligible to apply.

We serve organizations including community arts councils, municipal arts agencies, and organizations for the literary,. media, performing and visual arts. The GCA also provides support for projects sponsored by science and history museums, cultural support groups, presenters, public libraries, parks and recreation departments, school systems, and project support for arts programming offered by entities such as civic organization, educational institutions and units of local or state government.

GCA does not fund student groups or programs that serve primarily students or faculty of schools, colleges, or universities. The Council does not fund applications from organizations that exist primarily for the recreational benefit of their members, such as clubs. As well, commercial, for-profit entities that may be related to the non-profit applicant (e.g. a dance school connected to a dance company) are not eligible for support, and income and expenses for that commercial entity may not be included in this application budget.
Current grantees: This grant program is open to organizations currently funded by GCA in the Organizational Grants category.

Organizational Grants: Guidelines

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New applicants: Open to organizations not currently funded by GCA in the Organizational Grants category, which have had at least

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one year of completed operation prior to January 18, 2000, based on the date that the IRS has determined that the organization was

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legally operating as a 501 (c)(3), tax-exempt entity.

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Minimum Budget for General Operating Support: Applicants must be able to show operating expenses of at least $4,000 for the

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previous year, and must project operating expenses of at least $4,000 for July 1, 2000 through June 30, 2001. Organizations with

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operating

budgets

of .less

than

$4,000

are

encouraged

to

contact

their

Grassroots

Agency

to

explore .

.the

possibility

of

Grassroots

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grant.

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Minimum Budget for Project Support: Applicants must project a project budget of at least $4,000. Organizations with project

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budgets of less than $4,000 are encouraged to contact their Grassroots Agency to explore the possibility of a Grassroots grant.

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State colleges, universities, and other state agencies: Units of state government applying for funds must have a community

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advisory committee in place with at least 60 percent of the committee coming from the community rather than students, faculty or

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agency staff. In addition, at least 20 percent of the proposed project's budget must come from non-state sources. Additionally,

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colleges and universities cannot request funds for programs that present exclusively the work of student or faculty artists, and the

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target audience must be either the entire community in which a school is located or a specific population beyond the school's staff,

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faculty, and students.

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Non-arts organizations: May apply only for project support for arts-related programming and not for general support. The GCA

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funds only arts activities.

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Switching from Project Support to General Support: If your organization received project support for the current fiscal year and. is

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ap. plying

for

general .

support

for

FY2001,

it

cannot

request

more

than

25

percent

of

its

actual

cash

expenses

(no

re-g ranted

funds)

for

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its last completed fiscal year, based on its three-year budget breakdown (as listed on this application).

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Switching from General Operating Support to Project Support: If your organization received general operating support for the

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current fiscal year and is applying for project support for FY2001, it cannot request more than 25 percent of the proposed project

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budget.

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Organizational Grants: Guidelines

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Classes: A low priority is placed on classes and other instructional activities unless they are part of an audience development
program or specifically designed to develop performers for the applicant organization. The Council administers a separate Arts-in-
,
Education program to support classroom activities.

MAXIMUM REQUESTS
New applicants: Up to $5,000, as long as that amount does not exceed 25 percent of the organization's general operating or project expenses for its last completed fiscal year, or 25 percent of the proposed general support budget, whichever is smaller. Organizations sponsoring events that occur on an every-ottier-year basis will not be considered "new applicants" if they apply each time that the event occurs. Current grantees: Up to 25 percent of last year's total expenses (line 12 of your FY99 Final Report), as long as the amount requested does not exceed $105,659 (4 percent of the FY2000 GCA organizational grants budget). The maximum will be adjusted automatically to 4% of the Council's FY2001 organizational grant budget as approved by the General Assembly in March 2000.

RESTRICTIONS ON GRANT FUNDS

Certain restrictions apply to the use of grant funds. The GCA will not grant funds:



to reduce existing deficits or to support activities that already have been completed,

. to support programming not available to the general public,



to re-grant through the applicant organization,



for purchase of buildings or real estate,



for renovations or improvements involving structural change,



for payments for roads, driveways, or parking lots,

Organizational Grants: Guidelines

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for permanent and generally immobile equipment such as grid systems or central air conditioning,

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for prizes, scholarships, endowment funds, or entertainment (receptions, refreshments),

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for expenses incurred for fundraising events,

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for programs to present the work of students or faculty, or

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for programming and services outside the state of Georgia.

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GCA also reserves the right to make special stipulations from time to time on how specific grant funds can be spent

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GETTING READY TO APPLY

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Before an organization applies for a grant for the first time, it must obtain a copy of its certificate of incorporation in the State of

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Georgia from the Office of the Secretary of State. It must also obtain a letter certifying its classification by the IRS under Sec~ion

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501 (c)(3) of the IRS Code as a nonprofit, tax-exempt organization to which donations are deductible as charitable contributions under

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Section 170(c)(2).

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Each organization must have its own nonprofit, tax-exempt status and cannot apply under the umbrella of another tax-exempt

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organization. (Note: Certain legal entities, such as local and state government agencies, do not have an IRS letter, but are eligible

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to apply. Call us if you have a question about your organization's legal status.)

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Please make sure to attend grant seminars (see "Seminars for Grant Applicants" section) and consult with grants managers as

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necessary before submitting your application. Attending one of the free grant-writing seminars will help you prepare your application.

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PREPARING YOUR APPLICATION

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Submit application by the deadline date. The completed application, including all attachments and support material, must be

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delivered to the GCA office, or postmarked, on or before the close of business on the deadline date. If there is a discrepancy

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between the applicant's postage meter stamp and the post office cancellation date, the cancellation date will be considered the date

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Organizational Grants: Guidelines

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the application was mailed. Make sure you get your application to the post office in time to receive a postmark date of January 18 or before. Late applications will not be accepted. Save a copy of your application for your records because we will charge for replacement copies .
Double-check your application for accuracy and completeness. We will send applications to panels as submitted. Our staff will only make sure that you comply with basic eligibility requirements. The panelists will evaluate any deficiencies or discrepancies.

PANEL PROCESS

The GCA uses professional advisory panels to review organizational grant applications. Separate panels review the applications in each discipline: CAPS (Community Arts Programs and Services), Dance, Literature, Music, Presenters, Theater, and Visual and Media Arts. Panels are made up of professionals in the given discipline, along with a citizen panelist and two Council members (one serving as chair) .

The panel meetings are held in the Council offices and are open to the public. Although you will receive a consensus statement summarizing the panel's assessment of your application, we encourage you to attend the meeting personally. Panel reviews will be held as follows:



CAPS- Wednesday, March 8, 10 a.m. to Thursday, March 9, 5 p.m.



Dance- Monday, March 13, 10 a.m. to Tuesday, March 14, 5 p.m.



Literature- Monday, March 27, 10 a.m. to 5 p.m .



Music- Wednesday, March 15, 10 a.m. to Thursday, March 16, 5 p.m.



Presenter- Wednesday, March 22, 10 a.m. to Thursday, March 23, 5 p.m.



Theater- Monday, March 20, 10 a.m. to Tuesday, March 21, 5 p.m.

.

Visual and Media Arts -Monday, March 6, 10 a.m. to Tuesday, March 7, 5 p.m .

Organizational Grants: Guidelines

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Before the panel meeting, advisory panelists and former panelists will be assigned to conduct on-site evaluations of all applicants:

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Panelists will contact the organizations they have been assigned to schedule the on-site review. New applicants are encouraged to

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contact their grants manager as soon as they decide to apply, so a site visit can be arranged. Applicant organizations are

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encouraged to request a GCA Council list and panel list for their discipline area (available at grant se~inars) and to invite panelists

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and Council members to attend scheduled events by placing them on your mailing list.

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Panelists review each application from the smallest budget to the largest and, in most panels, in two or three groups by size of

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budget. Panelists use relative standards based on the size .of the organization. Panelists fill out an evaluation form for each

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applicant. These forms specify the criteria used by GCA to allocate its funding. The criteria include artistic excellence,

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administration, and accessibility for multi-cultural populations and people with disabilities. As you prepare your application, please

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keep the evaluation criteria in mind.

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For each criterion listed on the evaluation form, the panelist assigns a number from one [1] (lowest possible score) to the maximum

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for that criterion, with the highest number indicating that the applicant has met that criterion to the highest degree possible.

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When the panel meets, it reviews applications in budget order beginning with the smallest budget. The review of each application

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begins with a report by GCA staff of the applicant's administrative track record with the agency. (New applicants do not have a track

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record.) This report includes information about late reports, failure to meet prior contractual obligations, and whether or not the

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contract for the current year has been executed. Then the panel hears a brief report from the panelist or past panelist assigned to

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visit that applicant, and there is general discussion.

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Since panelists are asked to do the initial rating at home in pencil, they have the option to revise their. evaluation forms during the

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panel meeting, based on the panelist's review and subsequent discussion. Staff then average the panelists' scores for each

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applicant, discarding the lowest score and the highest score, and create a ranking sheet which lists the applicants from the highest to

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the lowest composite score. The panel also develops a "consensus statement," which is released to the applicant, describing the

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strengths and weakness of the application.

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Finally, for project applications the panel makes a funding recommendation for each applicant. General Operating Support

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application scores are translated into grant amounts through the application of the Council's "Fair Funding Policy."

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Organizational Grants: Guidelines

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THE "FAIR FUNDING POLICY"

After all panels have met, panel rankings are compiled into one central list. The "Fair Funding Policy" works as follows. (Please keep in mind that all figures used in this example are only projections. We will not be able to construct accurately the policy until we know our funding amount for FY2001, which will be determined after the General Assembly meets in March 2000.}

Tlie policy is based on funding each organization a pe.rcentage of its expenses. The top-ranked. groups in each discipline will receive the' highest percentage of funding. As ranking scores decrease, the percentage of expenses funded diminishes accordingly, with groups ranked under a certain point score not receiving funding at all (although those applications will then be moved into consideration for technical assistance). For example, the top-ranked organizations in each discipline may receive 10 percent of. their expenses from the previous year. The next-ranked groups might receive 80 percent of the 10 percent, which would be 8 percent. The next lowerrankings will receive 80 percent of the 8 percent for6.4 percent, and so on down the category.

Once each group's funding has been set, some additional factors will come into play. Each funded organization has the opportunity to benefit from two "kickers," which could increase its funding. The first is based on budget size. The smallest organizations would have their funded dollars multiplied by a certain percentage, such as 1.2. In this example, medium-budget organizations would have their dollars multiplied by 1.1. Large-budget organizations would not receive the multiplier.

The second kicker is based on the population of the county in which the organization is based. The smallest rural communities

would receive a multiplier of, for example, 1.5; the. next smaller-population areas would receive a multiplier of 1.4, and so on until the

largest

counties,

in

wh.ich

an

organization '

would

receive

a

multiplier

of

1,

resulting
.

in

no
.

increase

in

funding.

Major institutions whose budget are so large that they would receive maximum funding under the ,Policy even if they ranked in the .

bottom

half. of .their

catego.ry, ~ and

which

do

indeed

rank

in. the

botto.m

.half,

will

have

a

"negative

multiplier''

applied. '

This action will

result i~ a. reduction in their grant amount in direct proportion to the degree to which they fall below the halfway point in their

category .

Organizational Grants: Guidelines

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Finally, the dollars awarded will be "capped" with a minimum and maximum dollar amount available per organization. No

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organization funded will be awarded less than $1 ,000; and no organization funded will be awarded more than four (4) percent of the

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Council's organizational grants budget.

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IF YOU RECEIVE A GRANT...

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Governor Barnes will notify each grant recipient. GCA then contacts all applicants regarding specific details. Grant recipients are

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notified either that they have been fully funded .or, more likely, that they have been partially funded. Applicants may be asked for

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additional information before the contract is issued. If you do not provide requested corrections or information within the deadline

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set, your grant is ~ubject to cancellation.

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The grant represents a legal, binding;contract with the State of Georgia to provide arts services for the citizens of Geor~ia.

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Funds awarded through GCA must be used as specified in the approved contract. All expenses must be incurred and all activities

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must be scheduled between July 1, 2000 and June 30, 2001. If a situation arises that adversely affectsyour organization's budget or

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ability to complete schedul.ed activities, you should contact your grant manager immediately.

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RECORD KEEPING

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Terms of the contract are administered through the Office of Planning and Budget (OPB), a department of the state government, and

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the grantee actually enters into the contract agreement with OPB. OPB's only obligation under the agreement is to provide not more

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than the total grant amount; as approved by GCA and stipulated in the contract budget.

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The grantee must agree to maintain complete financial records for all activities covered by the contract. While general support

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funding gives the organization flexibility in where it allocates the funds, the approach does require the organization to keep

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comprehensive records for GCA. The organization must give its total operating budget as part of the application and describe all

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projected activities for the state fiscal year, then document the use of all funds and the progress of all activities for subsequent

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required reports.

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Organizational Grants: Guidelines

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GCA CREDIT LINE

Funded organizations must credit GCA in all publicity for GCA-funded programming. It is important that we make the public aware of the use of tax dollars for arts programming. Grantees must use a camera-ready logo provided by GCA in every grantee publication where the printing process allows. The following credit should be presented verbally at events at which no printed program is used:

This program is supported in part by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly
REIMBURSEMENT

Once a grant is confirmed, the organization will receive a grant package with copies of the contract (to be signed and returned), reimbursement request forms, a final report form, and a camera-ready logo sheet.

The organization may submit regular requests for reimbursement. Each request cannot exceed 50 percent of actual expenses incurred at the time the request is filed, nor can it exceed 90 percent of the total grant amount. Allow a minimum of 30 calendar days for receipt of funds after submitting your request. Requests cannot be made more frequently than once a month.

No requests for reimbursement will be processed if grant paperwork from the previous fiscal year is outstanding .

The grantee is expected to submit required reports on time and to respond within deadlines to any requests for additional information or clarification .

Ten percent of the organization's grant funds will be withheld until a final report is submitted and approved. GCA also reserves the right to withhold more than 10 percent of an organization's grant if any special circumstances of that organization warrant such action .

At the end of the fiscal year, the organization must submit a final report and final request for reimbursement by August 29, 2000.

Both items must be submitted at the same time. The final 10 percent of the grant amount will be awarded when this final report has

been approved. Failure to close out the contract by August 29 leaves your organization's contract subject to cancellation .

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All organizational grants received from GCA must be matched in cash on a dollar-for-dollar basis. In-kind contributions (e.g.,

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donated materials, labor, space or services for which you do not pay cash) are encouraged but are not allowed as part of your

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organization's cash match.

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Any grant funds not properly matched and already disbursed to the grantee must be returned to GCA.

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THE FINAL REPORT

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The final report will require documentation of your organization's programming (scope of services), the approved grant budget, salary

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listings and verification that GCA was credited in all publicity. Organizations that fall significantly short of meeting their application

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budget or scope of services may have their grant reduced by an appropriate percentage.

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AUDIT REQUIREMENTS

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Grantees receiving $100,000 or more combined from GCA and other state agencies during the grantee's fiscal year must submit an

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audit performed in accordance with generally accepted government auditing standards. Grantees receiving less than $100,000 and

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more than $24,999 must submit a copy of their financial statements for the fiscal year in which they received the state funds. This

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audit, or financial statement, must be submitted to the GCA and to the State Auditor's Office within 180 days after the close of. the

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grantee's fiscal year.

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PUBLIC RECORD

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The audit, including salary lists, and all other.financial records submitted to GCA are public records, and, as such, are open to public

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inspection. All financial records are subject to audit by the State of Georgia, the National Endowment for the Arts, and/or the U.S.

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General Accounting Office, regardless of funding amount.

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Bear in mind that all applications, reports, and contracts with GCA are subject to the federal Freedom of Information Act, and can be

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requested at any time by members of the public or the press.

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GRANTEE REQUIREMENTS

Do not let your organization's delays with meeting administrative requirements for a current GCA grant jeopardize action on a future grant. GCA policy stipulates that applications will not be accepted in any grant deadline from any organizations previously funded which have any overdue, incomplete, or incorrect final reports, salary listings, audits, or other outstanding material required to close out a previous grant. Applications will also not be accepted from organizations that have not executed their grant contracts for the current year.

All grantee organizations are required to conduct operations in compliance with applicable federal statutes on labor standards (including the provisions of Labor Standards under Section 50) of the National Foundation for the Arts and Humanities Act of 1965 (LL.89-209), as amended). Grantees must also comply with federal nondiscrimination standards which state that no person in the United States shall, on the grounds of race, color, creed, national origin, or disability, be excluded from participation in, be denied the benefits of, or be subjected to discrimination under any program or activity receiving federal financial assistance. Grantees must not discriminate on the basis of sexual orientation. (See provisions of Title VI of the Civil Rights Act of 1964, Section 504 of the Rehabilitation Act of 1973, as amended, and the American Disabilities Act of 1990.)

The Council is committed to access as it relates to the full range of diversity in the state, including rural populations and low-income communities. Additionally, grantees must adhere to GCA accessibility policies and procedures that seek to enable us to recognize populations designated as "underserved," and to make the arts available and meaningful to underserved communities.

GCA's accessibility policy designates the following populations as underserved: American Indian/Alaskan Native; Asian/Pacific Islander; Black, not Hispanic; Hispanic; and people with disabilities.

GCA encourages applications from all segments of the state's population. Further, GCA seeks to increase access to underserved populations in several ways:

1. By encouraging applications from organizations whose programming is relevant and meaningful to ethnic and racial constituencies designated as historically underserved by the federal government, and who meet at least two of the following criteria apply:

Organizational Grants: Guidelines

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The board is at least 51% American Indian/Alaskan Native; Asian/Pacific Islander; Black, not Hispanic; Hispanic;

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The organization's constituency is at least 51% American Indian/Alaskan Native; Asian/Pacific Islander; Black, not

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Hispanic; Hispanic;

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The organization's staff is at least 51% American Indian/Alaskan Native; Asian/Pacific Islander; Black, not Hispanic;

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Hispanic;

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2. By supporting efforts to include the representation of racially and ethnically underserved populations in the policy-

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making, planning and programming of all funded organizations;

0

3. By supporting public programming representative of and meaningful to ethnically and racially underserved populations;

0

4. By supporting efforts to insure that people with disabilities have equal physical and communication access, as defined

0

bylaw.

0

0

iF YOU DO NOT RECEIVE A GRANT...

0 0

General operating support applicants that are current grantees and that were not funded due to their low panel ranking will be eligible

0

0

for technical assistance through GCA to address whatever organizational problems the group may have. Contact your grant

0

manager (see page 1) for more information.

0

Applicants who were not funded may appeal GCA decisions if the applicant can demonstrate that the application was rejected for any

0

of the following reasons:

0

Information not presented: Information furnished to GCA as part of the written application was not presented to the

0

appropriate staff, advisory panel or to the Council members (not including information which was in excess of that allowed

0 0

under GCA guidelines or which was submitted after the application deadline). NOTE: Incomplete applications are not eligible

0

for appeal. New information not included in the original application is not relevant to the appeal process and will be

0

disallowed.

0

Organizational Grants: Guidelines

0

Page 18

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Violation of GCA conflict of interest policy: A member of the panel or Council violated GCA's conflict of interest policy and thus improperly influenced other panel or Council members. Decision based on inappropriate criteria: Panel or Council decision was based on criteria other than those in published guidelines . Only applicants that were not funded may appeal. The amount of a grant cannot be appealed. Applicants who feel they have grounds for appeal must submit their appeal, in writing, to the GCA Executive Director no later than 15 calendar days following the receipt of the written notice of the application's rejection. The submission should contain evidence to support one or more of the allowable grounds for appeal. The decision on an appeal will be made by the GCA Executive Director, who will render a decision within 15 days of receipt of the appeal. The ruling of the Director shall be the only administrative remedy and there shall be no further right of appeal.
"FINALLY..."
Your comments on how we might improve these guidelines, the application form, or any part of the application process are always welcome. Just write, call, or email any of the grant program staff. (See "Arts Council Staff' Section.)

Organizational Grants: Guidelines

Page 19

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0

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0

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ADDITIONAL INFORMATION CONCERNING ACCESSIBILITY FOR PEOPLE WITH

0

DISABILITIES

0

0

A person with a disability is defined in three ways. It indicates a person who:

0

0

1. Has a physical or mental impairment that substantially limits one or more major life activities;

0

2. Has a record of such an impairment; or

0

0

3. Is regarded as having such impairment.

0

Examples of physical or mental impairments include, but are not limited to, such contagious and non-contagious diseases and

0

conditions as orthopedic, visual, speech and hearing impairments; cerebral palsy, epilepsy, musculardystrophy, multiple sclerosis,

0

cancer, heart disease, diabetes, mental retardation, emotional illness, specific learning disabilities, HIV disease (whether

0

symptomatic or asymptomatic), tuberculosis, drug addiction and alcoholism. Homosexuality and .bisexuality are not physical or

0

mental impairments under the Americans with Disabilities Act of 1990 (ADA).

0

0

The first law to protect people with disabilities was the Rehabilitation Act of 1973 and Section 504 of that law, which prohibits

0

recipients of federal funds from discriminating because of disability. In particular, the law mandates that persons with various

0

disabilities shall have access to any program or service that receives federal funds. ADA, a later law, extends accessibility provisions

0

to the private sector in an effort to guarantee persons with disabilities the right to enter the economic and cultural mainstream open to

0

other Americans.

0

Every organization that applies to the Georgia Council for the Arts is required to conduct a disability self audit and develop a plan to

0

address deficiencies in meeting the ADA requirements. The plan should address policies, practices, and programs to ensure that

0

people with disabilities and organizations representing them should participate in this process.

0

0

Physical access refers to, but is not limited to, the following:

0

Additional Information Concerning Accessibility for People with Disabilities

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Ramp access or elevators to the office, performance halls, exhibition spaces or presentation areas for persons using wheelchairs
Restroom facilities with grab bars and door widths sufficient to accommodate persons using wheelchairs. Communications access refers to, but is not limited to, the following:
Sign language interpreters Assistive listening devices Telecommunications devices (TDD, TTY) Audio description of programs Braille or large-print programs GCA also expects organizations to include persons with disabilities on their staff and board and to include programs and activities for this special population. Organizations can include information about outreach to this population in their application or narrative. Publications providing technical assistance in this area include the National Endowment for the Arts' Design for Accessibility: An Arts Administrator's Guide to Accessibility Programs and Services, and The Arts and 504: A Handbook for Accessible Arts Programming. Copies of the latter publication are available free of charge from the GCA by calling 404-685-2787.

Additional Information Concerning Accessibility for People with Disabilities

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GCA/YA ARTISTS-IN EDUCATION RESIDENCY PROGRAM GUIDELINES

0

0

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The Georgia Council for the Arts and Young Audiences of Atlanta have created a partnership for Young Audiences to

0

assume responsibility for the Artists-In-Education {AlE) Residency Program. The program places professional artists in

0

communities across Georgia to conduct residencies lasting from one (1) week to 18 weeks. The residency sponsor cost is $475 per

0

week. Artists available through this program have been evaluated for their artistic merit and their ability to teach. Discipline areas

0

include the visual arts, music, dance and theater. The program is open to all public schools, private schools and non-profit

0

0

organizations in order to benefit students in grades K-12.

0

0

SHARED VISION OF PROGRAM SPONSORS

0

0

GCA and Young Audiences share a common mission to encourage excellence in the arts and to bring the arts to communities

0

throughout the state of Georgia. As well, The foundation of a hopeful future is nurturing creativity and a love of education and

0

learning from a child's earliest years throughout life. We come together to support the development of this vision for Georgia

0

schools, families and communities.

0

0

PROGRAM OBJECTIVES

0

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Young Audiences (VA) invites all K-12 schools, institutions of higher learning, and community organizations in Georgia to apply for

0

an Artists-In-Education Program Grant. The program objectives are:

0



To nurture creativity, desire for learning, and arts involvement from early years throughout life;

0

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To provide opportunities for arts experiences with artists;



To encourage schools' deepening commitment to the arts as a KEY component of the teaching and learning

environment; and



To provide financial and other resources to artists, educators, schools and communities throughout Georgia.

RESIDENCIES ARE DESIGNED TO:



Provide opportunities for enriched, effective learning;



Introduce a professional artist's work and creative processes through hands-on involvement;



Involve teachers in new instruction techniques and ways to integrate arts into the curriculum through staff

development and in~class participation;



Help raise community awareness about the value of the arts in education and in society through publicity, hands-on

workshops, lectures, demonstrations, exhibitions;



Foster respect for the creative expression of all students and of people of other cultures; and



Support the professional development' of artists, one of our state's cultural resources .

RESIDENCY APPLICATIONS

Applications are accepted on an ongoing basis. However, Grant Review panels will meet twice each year, after published deadlines, to review applications and award funds. Applications must be postmarked by the following application deadlines.

The application submission deadlines and grant implementation periods are:

Application Postmark Deadlines

Grant Implementation Period

October 15, 1999

January 2000 - August 2000

March 15, 2000

September 2000- June 2001

October 16, 2000

January 2001 -August 2001

GCAIYA Artists-In-Education Residency Program Guidelines

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0

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Applications are reviewed through a competitive process by an impartial panel of arts education experts. You will be notified about

0

the status of your application, 4 to 6 weeks after published deadlines. Residencies may occur at any time of the year.

0

0

SITE BUDGET I RESIDENCY FEES

0

0

Residencies can be scheduled for a minimum of 1 week up to a maximum of 18 weeks. The basic residency costs are indicated in

0

the chart below:

0

0

RESIDENCY BUDGET GUIDE

0

1 WEEK 2WEEKS 4WEEKS 8 WEEKS 16 WEEKS

0

0

RESIDENCY FEE

$950

$1,900

$3,800

$7,600

$15,200

0

AlE MATCHING GRANT

$475

$950

$1,900

$3,800

$7,600

0

SCHOOL MATCH

$475

$950

$1,900

$3,800

$7,600

0

0

0

AlE matching grants, fees related to the pre-planning visit, and a basic supply budget are provided by GCAIYA through

0

appropriations of the Georgia Legislature and the National Endowment for the Arts. The cash match required of the site (school,

0

organization and/or sponsor) represents fifty percent (50%) of the residency fee. The only additional costs to the school may be

0

0

housing for the artist and special supplies/materials mutually agreed upon during the pre-planning process. The GCAIYA program

0

will pay the other portion of the residency fee along with mileage expenses, pre-planning fees, etc.

0

0

RESIDENCY PAYMENT

0

0

The school/host organization must pay their matching funds in full before the conclusion of the residency. The school/organization

0

will receive an invoice with the residency contract, after the pre-planning process.

0

GCAIYA Artists-In-Education Residency Program Guidelines

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ADDITIONAL CONSIDERATIONS
HOUSING: Suitable housing arrangements will be negotiated between the artist and host site prior to or during the pre-planning visit. If possible, housing should be provided at no charge to the artist. Housing options to consider include: 1) Donated hotel/motel rooms or negotiated lower rates; 2) Spare rooms in a large home; and, 3) School/Organization subsidized housing, the cost of which is heavily subsidized by the school/organization. {The artist must maintain a permanent residence in addition to relocating to your community. Providing housing, at no charge to the artist, will make your residency more appealing to a wider selection of artists.) LUNCH: Because the artist is required to be at the school the full day, the school should provide lunch for the artist at no cost. This also enables the artist to spend some informal time with students and teachers. If the artist has special dietary requirements, the school/organization is under no obligation to fulfill the artist's extraordinary needs.
SELECTING ARTISTS FOR YOUR RESIDENCY
The artist does not have to be selected before applying for the matching grant. Planning ideas come from Young Audiences' Program Guide, which includes all residency artists who have fully completed the approval process. (After you make preliminary choices, you can request additional artist information from Young Audiences at 404-589-0644, to enable you to determine which artist meets the objectives of your site.) If your application to host a residency is approved, the site then makes final selection of the artist. After selecting the artist, the site should contact Young Audiences to establish dates and project details. Familiarity with artists and ideas also come from attending the YA SHOWCASE, held every fall, (usually the second Wednesday in September) in Atlanta, where you will see live performances, workshops, demonstrations and have the opportunity to meet the artists .

GCA/YA Artists-In-Education Residency Program Guidelines

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\

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0

0

SCHEDULING GUIDELINES/CONSIDERATIONS

0

0

The residency schedules will be negotiated among the artist(s), schools, and organizations involved in the program. Each person

0

should consider planning and preparation time, instructional contact hours with students and/or teachers, and whether studio time

0

(creative time for the artist) is needed on a daily, weekly or monthly basis. With shorter residencies, the number of students reached

0

with hands-on or direct contact activities will be limited.

0

0

The artist's schedule should be based on a 35-40 hour work week, generally with no more than four 50-minute classes per day, plus

0

preparation time. Total residency length, artist and art discipline will further dictate the schedule.

0

Daily Approach: Some schools/organizations and artists will continue to split each school day among teaching, prep time,

0

and professional development (studio time).

0

0

Weekly Approach: Others may opt for a heavier teaching schedule, with prep time, and a percentage of the week to be

0

balanced by studio time.

0

Overall Residency Approach: Enables a schedule of three weeks teaching, one week studio, and will allow the artist some

0

planning and preparation time each day during the teaching weeks. This approach would be used for Residencies lasting

0

longer than 1 month.

0

0

STUDIO SPACE/TIME

0

0

The artist and site will determine studio space/time requirements during pre-residency planning. The artist is not required to focus on

0

creating art during each school day, if t'his time is needed for planning or if the studio is not adequate; the artist may complete studio

0

time off-site (no fee should be charged for an off-site studio).

0

0

Whether or not the artist's primary studio is located at the site, the artist must have a secure (lockable) place at the school/site to

0

store equipment or artwork.

0

0

GCAIYA Artists-In-Education Residency Program Guidelines

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0

0



The artist should endeavor to provide students, teachers, and coordinators with insight into the process used and evolution of the artwork produced during studio time (if applicable). Instead of inviting the hosts to visit the studio, the artist may showcase the fruits of this creative time in some form, to be agreed upon with the school, either during the residency or in a return visit.
Examples: An actor uses studio time to learn .lines and rehearse for an upcoming production - when the play is performed, teachers and students could be invited to attend; a video of a rehearsal could be shown; other cast members could be brought in to recreate a scene and discuss it with the students. A painter uses studio time to explore subject matter, completes paintings off site. An exhibition of the artist's work could be arranged.
IMPORTANT: If an artist's professional projects (plays, paintings etc.) deal with subject matter not suitable for the age of students involved in the residency, arrangements should be made to showcase the artist's professional work in an alternate form . Restriction on this more flexible studio time: Since the artist is being paid for it as part of the residency, studio time may not be spent in paid work for another organization. The artist should draw energy from his or her creative work, and share this excitement with the community .
SPACE AND EQUIPMENT CONSIDERATIONS
The needs of a particular artist you select may differ from the information below. Most artists are adaptable, but there are some space and equipment requirements that would be unsafe to circumvent. Be sure to discuss these requirements with each artist at the interview session. In some cases, studio and teaching space may be the same; in other cases, these will be separate. Protection for the artist's equipment and artwork is a consideration. Class to class visits are fine as an introduction to the artist; however, when special equipment or supplies are involved, students should come to the artist in a stationary location . The site should provide:
Architecture/Design: A classroom, access to drafting tools, a woodshop, and display space if possible. Students may also accompany the artist on walking tours of the site and community.

GCA/YA Artists-In-Education Residency Program Guidelines

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0

0

0

Dance: A non-carpeted classroom cleared of desks or a heated stage area with a wooden floor not over concrete, not

0

shared with other classes; access to a private area for changing clothes; a record or cassette player, other equipment

0

as requested. Access to a rehearsal/performance space with adequate lighting will be needed if a performance is

0

desired.

0

0

Literature (poetry/creative writing): A classroom with chalkboard, bookshelves, desks or tables; access to audiovisual

0

equipment as requested. The artist's studio may be a small office in a quiet area, not shared with other personnel.

0

(Small does not mean a closet.) Volunteer typists will be needed if an anthology of student writing is desired.

0

Media (film/video): A classroom; at least one TV monitor with video deck and video camera with recording

0

microphone, or at least one movie camera (16mm or super-8) with compatible projector and screen; some portable

0

lighting equipment. Access to editing/dubbing equipment will be needed if a finished student film or video is desired.

0

0

Music: An appropriate room; a tuned piano or other musical instruments as requested; a record or cassette player..

0

Instrument construction may be possible with access to a woodshop and tools. Access to a rehearsal/performance

0

space with an adequate sound system will be needed if performance is desired.

0

Theater (includes mime and puppetry): A classroom cleared of desks or a stage not shared with other classes and

0

audio/visual equip~ent as requested. Access to a rehearsal/performance space with adequate lighting and sound

0

systems will be needed if a performance is desired.

0

0

Visual Arts/Fine Crafts/Photography/Puppetry: A well-ventilated classroom, tables and chairs; storage and drying

0

shelves; running water in the room or nearby; special equipment appropriate to the art form, e.g. a kiln with proper

0

wiring is necessary for pottery. For photography, if students do not have access to 35mm cameras, pinhole cameras

0

may be constructed from simple material; a darkroom may be set up on a temporary or permanent basis. A secure

0

display space will be needed if an exhibit of the artist's or students' artwork is desired.

0

NOTE: The number of students who will be able to work with the artist is determined in part by the amount of space and equipment

0

0

the site is able to allocate to the residency. We encourage sites to find ways of adapting their facilities, in order to ensure continued

0

exploration of and involvement with the art form after the artist's residency is over.

0

GCAIYA Artists-In-Education Residency Program Guidelines

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SUPPLIES. Each artist-in-residence is allocated a limited supply budget by GCA/YA so that your students have an opportunity to explore the art form for themselves. Any additional supplies the site may be able to provide will help the artist-in-residence stretch this budget to cover final projects and/or additional visiting artists.

THE APPLICATION PROCESS
Before You Apply For A Residency Grant, It's A Good Idea To Form A Planning Committee WHO: A local planning committee should consist of a key administrator at the site, art specialists on staff, a key curriculum advisor from the system office, a representative of the parents, a representative of any business providing local sponsorships, local arts council representatives, etc. It is important for your planning committee to be multi-disciplinary and reflective of the population of the site .
WHAT: Planning to apply will generally take a minimum of two committee meetings. First, discuss the site's interest in applying and identify the specific needs, which can be filled through an Artist Residency Grant. Additional research may need to be done independently by committee members-such as investigating sources of financial support, and polling other teachers, parents, and the students themselves to ascertain the appropriate focus and discipline(s).

THE APPLICATION
WHO: Select grant writers to complete the application. This may be accomplished by one or two committee members for group approval. WHAT: Experience has shown that students and other participants benefit most from residencies with broad involvement and good planning . HOW: Write with enthusiasm and realism. Be specific about your goals and objectives-what you intend to achieve-but keep an open mind about the specific strategies and techniques for site and artist implementation, which will be the result of your partnership.

GCAIYA Artists-In-Education Residency Program Guidelines

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0

0

EXAMPLE: Suppose your goal is to better integrate your curriculum, and your objectives are to stimulate students'

0

abilities to understand story sequences and to sharpen their observation of supporting details. Either partnering a

0

writer-in-residence with your visual arts specialist or partnering a visual artist with your language arts teachers can be

0

very effective strategies. In contrast, pre-selecting a story to be depicted in a mural is a fun project, but too narrow a

0

focus for a residency application.

0

0

WHEN: Leave time before the deadline to get required application signatures. Make a copy for your committee, and refer to it as

0

each stage of your plan is implemented. A panel of impartial experts in the field of arts-in-education, including educators and artists,

0

will review your application. If you receive a grant, your application will also be reviewed by artists who are eligible to assist in

0

implementing your plans. Write with this in mind.

0

0

AFTER APPLYING TO THE ARTISTS-IN-RESIDENCY PROGRAM (GCA/YA)

0

0

While your application is being reviewed and considered, begin thinking about:

0

What are your next steps if your application is funded?

0

0

What will you do next if your application is not funded or only partially funded?

0

You will be notified approximately 4 to 6 weeks after the application submission deadlines, whether or not your application has been

0

funded.

0

0

IF YOUR APPLICATION IS FUNDED YOU SHOULD FORM AN IMPLEMENTATION COMMITTEE

0

0

WHO: This may comprise all or some of the members of your Planning Committee. New duties arise with approval of your

0

application, such as publicity, hospitality and scheduling. Additional expertise and involvement might be needed. This committee will

0

0
su'pport the work of two key people.
0

In-School Coordinator: facilitates the artist's introduction and scheduling in the school.

0

GCAIYA Artists-In-Education Residency Program Guidelines

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Community Coordinator: facilitates the artist's introduction and scheduling in the community identified with the school or organization .
In Every Case, it will be important for your Implementation Committee, like your Planning Committee, to reflect the population of your community. As a long-range benefit of participation in Artists-In-Education partnerships, your committees should continue to meet, tell your on-going success stories both within the school and community, and provide support for your students to experience more opportunities for education in and through the arts.

PUBLICITY
Arrange for articles in the newspaper, on the Internet, and/or radio interviews. If you are having a special event, invite your local TV station or newspaper. Create posters and/or flyers about special activities, exhibitions and performances. Your local arts council can help you with these events or assist the artist in securing community service activities. Call them for input.

DOCUMENTATION
Determine in advance what methods will be used to document the residency. Schools/organizations have found that keeping scrapbooks, student-made videos and slides keep parents, legislators, arts councils, and school ~oard members informed of activities. Documentation is also beneficial for evaluating your progress, planning future residencies, follow-up activities, and for orienting new teachers and administrators. Make this documentation easily accessible. Keep the scrapbook where visitors to the office can browse through it. Investigate showing videos on a local cable channel. Teachers seeking educational credit may also benefit from this documentation .

EVALUATION

GCAIYA requires the host site and the artist to complete an evaluation at the conclusion of the residency. The evaluations will

enable the artists, sites, and AlE administrators to monitor the effectiveness of the residency. Evaluation results are extremely

GCA/YA Artists-In-Education Residency Program Guidelines

Page 31

- - - - - - - - - - - - - - - - - - - - - - r--=---~----~----------------------~~---------------

0

0

0

important to funding agencies at the state, federal, and local levels. Evaluations should be viewed as a crucial tool for future program

0

planning. We welcome suggestions and comments. Please make the evaluations as complete as possible.

0

0

QUESTIONS

0

0

Questions should be directed to Jeanene Williams, Artists-In-Education Director at Young Audiences. Telephone: 404-589-0644;

0

Fax: 404-215-9320 Email: YAATLANTA@AOL.COM. Website: www.YA-ATLANTA.ORG.

0

0

APPLICATION SUBMISSION

0

0

Please submit completed application to: Jeanene Williams, AlE Director, GCAIYA, P.O. Box 54226, Atlanta, Georgia 30308. Faxed

0

copies of applications will not be accepted. Incomplete applications will not be reviewed.

0

0

MEET THE ARTISTS

0
0

YA SHOWCASE is an annual day of previews sponsored by Young Audiences (usually the second Wednesday in September) in

0

Atlanta. Come see artists in action and find infinite possibilities for enlivening your curriculum with the arts! For details, contact

0

0

Young Audiences at 404-589-0644.

0

0

0 0 0

0

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GCAIYA Artists-In-Education Residency Program Guidelines

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GEORGIA FOLI<LIFE PROGRAM GUIDELINES

The Georgia Folklife Program actively documents, supports, preserves, and educates the public about Georgia's traditional folk culture. We administer a Folklife Grants Program and a Traditional Arts Apprenticeship Program; provide resources and referrals; conduct field research; and maintain an archive documenting folk artists and folklife found throughout the state . The Folklife Project Grant Program, a collaboration with the Georgia Humanities Council, provides a maximum of $6,000 for projects documenting or presenting folklife, traditional arts and folk artists. Application deadline is April 3 (letter of intent to apply, including a summary description and working budget of the project due by February 15). The Traditional Arts Apprenticeship Program enables master folk artists to pass on their skills to aspiring apprentices. The Apprenticeship deadline is September 15. The Folklife Program also conducts fieldwork to document traditional artists, provides technical assistance, and maintains an archive of field recordings, photograph and slide images, and field notes.
WHAT IS FOLKLIFE?
Folklife is the traditional expressive culture (music, craft, dance, verbal lore) maintained by groups of people who share a common family history, ethnic heritage, occupation, religion, or geographic region. Whether sung or told, handcrafted or performed, a group's folklife signifies a 'tangible sense of belonging and identity. Our state's folklife includes music traditions such as North Georgia fiddling, a capella gospel quartet singing, and Mexican-American norteflos; regional crafts such as coastal coiled sweetgrass basketry and Piedmont utilitarian pottery; various forms of traditional dance such as flatfoot buck dancing and South Indian

Georgia Folklife Program Guidelines

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Kuchipudi, and food traditions such as dinner-on-the-grounds, barbecue, and fish fries. Folklife also includes folk medicine and

0

healing practices, occupational traditions, and vernacular architecture.

0

0

Folklife is typically learned during the course of daily living from someone steeped in the tradition, rather than through books, classes,

0

or other means of formal instruction. Though people tend to identify Georgia folklife with the state's older indigenous communities,

0

folklife also includes the traditional culture of Georgia's more recent ethnic and immigrant groups. It is not uncommon for a group's

0

folklife to remain largely unknown beyond the local community in which it flourishes. This is because folklife and traditional arts are

0

found outside the realm of what many people think of as art - in local dance halls, on-air at gospel radio stations, in places of

0

worship, at fiddling. conventions, tobacco auctions, or shape note singings, at family reunions, and at places of work.

0

0

FOLKLIFE PROGRAM ACTIVITIES

0 0

Folklife Program Project Grants (a partnership with the Georgia Humanities Counci~ provides matching grants for projects

0

documenting and presenting folklife in forms such as field surveys, concerts, exhibitions, festivals, radio features, publications,

0

0

film or video. Deadline: April 3, 2000.

0

Traditional Arts Apprenticeship Program supporting serious study of a traditional art form between a master folk artist and

0

a qualified apprentice. Deadline: September 15, 2000.

0

0

Technical assistance (resources and expertise) provided to individuals and cultural organizations requesting assistance in

0

documenting and presenting Georgia folklife.

0

Documentary field research to seek out and document folk artists and folklife traditions.

0

Archive of field recorded data (negatives, slides, photographs, audio recordings) comprising a unique and important record of

0

Georgia's ever-changing folk cultural heritage.

0 0

0

0

Georgia Folklife Program Guidelines

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This grant program assists Georgia organizations who wish to document, preserve, and present the folklife and traditional artists of Georgia. When you apply to this grant program, your folklife project is ineligible for additional funding from either GCA general operating support or GHC project support.

WE FUND
The presentation of folklife that communicates the artistry, lore, and values of a traditional community or folk group. Such programs must provide cultural interpretation when presented to an audience outside of originating community.
Documentary fieldwork: Field surveys that identify, record, and catalog Georgia folklife. Technical Assistance: Contracting of folklife consultant to assist with developing folklife/folk arts programming or teacher
training . Projects that document, present, or perpetuate Georgia folklife through media such as film, video, photography, sound
recordings, radio features, or publications. Festivals that celebrate folklife within Georgia and showcase traditional artists. )( Note: GCA/GHC requires a copy of any product or survey materials from a GCA/GHC supported project.

WE DO NOT FUND

Projects limited to a historical focus, that is, projects that present reenactments or recreations of the past. Research conducted solely for scholarly purposes. Projects dealing with dramatic/theatrical reproduction of traditional material and highly choreographed or orchestrated
interpretations of traditional folk/ethnic music and dance, by non-traditional artists. Contemporary craft artists who have learned their craft through other than a folk process.

Georgia Folklife Program Guidelines

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0

0

Programming not available to the public.

0

0

Prizes, scholarshi.ps, endowment funds or entertainment (receptions, refreshments).

0

Programming or services outside the state of Georgia.

0

Purchase of buildings, real estate, or equipment.

0

0

POSTMARK DEADLINE

0
0

April 3, 2000- a letter of intent to apply, including a summary description and working budget of the project, is due February 15,

0

2000.

0

0

PROJECT PERIOD

0
0

All folklife programs must be started and completed between July 1, 2000 and June 30, 2001.

0

0

0

MAXIMUM REQUEST

0

0

Project applicants may request a maximum of $6,000 if this amount represents less than 50% of their project's total cash budget.

0

Any grant received from GCA/GHC must be matched dollar for dollar with cash. In-kind contributions (i.e., donated materials, labor,

0

space or services for which you do not pay cash) are encouraged, but are not allowed as part of your organization's cash match.

0

0

ELIGIBILITY

0

0

Open to nonprofit organizations exempt from taxation under section 501 (c) (3) of the Internal Revenue Code. Projects initiated by

0

individuals must be submitted by a nonprofit organization that will assume responsibility for the overall project administration. A

0

project will not receive funding for more than two years.

0

Georgia Folklife Program Guidelines

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Review Criteria: Project proposals will be reviewed according to the following criteria: a. Quality and authenticity of folk artists or folklife to be presented. Biographical and support materials are required in order to confirm that the artist(s} learned through a traditional manner. b. Interpretation that broadens the public's understanding of folk art/folklife . c. Involvement of cultural specialists (e.g., folklorists, and/or practitioners knowledgeable about Georgia folklife) in the planning and implementing of proposed project. d. Commitment and capability of applicant organization to implement project. e. Strength of marketing plan and publicity. f. Viability of project as evident in program design, appropriate budget, qualifications of staff and advisors, equitable compensation for traditional artists.
Questions:. Specific questions regarding the Georgia Folklife Program and the grant application package should be directed to Aimee Schmidt at 404-685-2786. First-time applicants are strongly encouraged to consult with the Folklife Program Director before applying .

Georgia Folklife Program Guidelines

Page 37

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TRADITIONAL ARTS APPRENTICESHIPS GUIDELINES

0

0

0

0

Apprenticeship: A time-honored system by which skills, techniques, values, and artistry are learned under the guidance of a

0

recognized master.

0

0

PROGRAM DESCRIPTION

0 0

The Georgia Council for the Arts Folklife Program recognizes the role the master artist/apprentice relationship can play in preserving

0

the state's folk cultural heritage. In order to foster and facilitate this teaching/learning relationship, the GCA Folklife Program has

0

0

established a Traditional Arts Apprenticeship Program, helping master folk artists (craftspersons, musicians, dancers) to pass on

0

their skills to qualified apprentices.

0

Apprenticeship grants will be awarded to a limited number of master artist/apprentice pairs to support the learning of traditional arts

0

and folklife specific to a particular folk group or ethnic community. Both master artist and apprentice must be Georgia residents.

0

Priority will be given to rare or endangered traditions. Funds (of up to $3,000 per apprenticeship) are available for the master artist's

0

teaching fee, supplies and materials, and travel expenses. The GCA Traditional Arts Apprenticeships are funded by the National

0

Endowment for the Arts.

0

0

DEFINITIONS

0

0

Traditional arts are part of the cultural life of a community whose members share a common ethnic heritage, language, religion,

0

occupation, or geographic region. These artistic traditions are passed down from generation to generation and reflect the values of a

0
c

Traditional Arts Apprenticeship Guidelines

Page38

c

c



shared culture. Conservative by nature, traditional arts are most often learned in family and community contexts through observation, imitation, and practice, rather than through formal academic training. The Folklife Program welcomes applications for apprenticeships in all forms of Georgia folk traditions - from old time fiddling to blues harmonica, musical instrument making to beekeeping, Mexican-American quinceaflera dressmaking to cornshuck doll-making, Hmong needlework to African American quilting, and shape note singing to a cappella gospel.
A master artist is someone who is recognized within his or her community as an exemplary practitioner of his or her traditional art
form. An apprentice is someone who learns under the guidance of a master artist. Prospective apprentices should have some prior experience in the traditional art form they wish to continue learning and have a serious long-term commitment to the continuity of the art form .

TRAINING PERIOD
The apprenticeship will be conducted for eight months and must take place between November 1, 2000 and June 30, 2001. The master artist is responsible for seeing that the work progresses as outlined in the work plan. During the apprenticeship period, the Folklife Program Director will visit with the master and apprentice to document the teaching/learning process. Tape-recorded interviews will be conducted and photographs taken .

EVALUATION CRITERIA

All grant applications will be reviewed by a selection panel, drawn from the Georgia Council for the Arts Folklife Advisory Panel. The selection panel will use the following criteria to evaluate and rank the applications:

Artistic quality of the master's work. Is the individual truly a master of the art form according to the standards of the traditional culture? (35 points)

Does the apprentice have sufficient skill and commitment to benefit from the master? (20 points)

Rarity of art form. Is the art form endangered within the traditional culture? (25 points) Traditional Arts Apprenticeship Guidelines

Page39

0

0

0

Work plan- and budget. Does the plan provide sufficient interaction to achieve meaningful results? Is the budget

0

appropriate? (20 points)

0

0

HOW TO APPLY

0

0

.The master artist and apprentice must apply together. It is. important for the two of you to meet with one another and ta. lk about your ideas for the apprenticeship. Without a shared understanding of what is expected to take place and why, proble.ms may arise.

0 0

0

0

WORK. PLAN

0

Master artist and apprentice plan the course of apprenticeship, specifying where, how often, and for how long each lesson will be. A

0

0

description of specific techniques or processes that will be learned should be included.

0

0

BUDGET

0

0

Each apprenticeship award automatically includes a fee of up to $2,500 for the master artist. Applicants may also request up to $500

0

for needed supplies, tools, materials, and travel costs necessary to complete the apprenticeship. Items such as specialized tools,

0

materials (fabric for a quilter, wood for a carver), musical instruments, costumes for performers, or cassette tapes to record music are

0

examples of eligible expenses. Travel costs for master and apprentice to get together, travel to gather or purchase supplies, or to

0

attend events may also be requested. Please call (404-685-2786) if you need assistance in preparing a budget.

0

0

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0

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Traditional Arts Apprenticeship Guidelines

0

. Page,40

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SUPPORT MATERIAL
Applicants must submit support material (for example, slides, photos, videotape, or audiocassettes) along with their application form. This enables the selection panel to evaluate the artistic quality of work of both master and apprentice. Once completed, make a copy of the application to keep and send the original to the Georgia Council for the Arts by the. postmark deadline of September 15,2000.

Traditional Arts Apprenticeship Guidelines

Page 41

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TECHNICAL ASSISTANCE PROGRAM GUIDELINES

0

0

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The GCA awards technical assistance grants to help arts groups with organizational and staff deVelopment: Technical assistance is

0

defined as the provision of information thrbugh consultation and through attendance at workshops, semin'ars, conferences 'and other

0

leadership development programs which result in the improvement of the organization admi.nistratively and/or programmatically.

0

Areas eligible for funding include, but are not limited to, fiscal affairs, human resources, communication, marketing and development,

0

planning, evaluation, access for underserved populations and people with disabilities, technology and artistic growth.

0

0

ELIGIBILITY REQUIREMENTS

0

0

Basic eligibility requirements for this program are that organ'izations be incorporated in Georgia as not-for-profit corporations or be

0

units of state or local government, and that they have been granted 501 (c)(3), tax-exempt status from the Internal Revenue Service.

0

(New applicants must provide copies of their Certificate of Incorporation in the state of Georgia and their IRS letter of tax status

0

determination when applying.) Additional eligibility requirements are spelled out in the "Program Components" section below.

0

0

PROGRAM COMPONENTS

0

0

The Georgia Council for the Arts Technical Assistance Program has two components: 1) assistance for new and emerging

0

organizations; and 2) assistance for established organizations.

0

0

New and Emerging Organizations

0

Organizations that are not currently receiving general operating support from the Georgia Council for the Arts but that are

0

incorporated in Georgia as not-for-profit corporations, and that have had their 501 (c)(3), tax-exempt status from the Internal

0

Revenue Service for at least one year are eligible for limited technical assistance. Funds are available to engage the services

0

0

Technical Assistance Program Guidelines

Page 42.

0

0



of consultants to assist the organization in its development. Funds in this component may not be used for attendance at workshops, seminars, conferences and other leadership development programs.
Established Organizations:
Organizations that are currently receiving general operating support from the Georgia Council for the Arts are eligible for funding to engage the services of consultants and/or to support travel to workshops, seminars, conferences and other leadership development programs by full or part-time (minimum of 20 hours per week) permanent, paid staff.
Please Note: Funds may not be used for board members or other volunteers to attend such programs. Organizations whose previous year's operating expenses exceeded $1 million are not eligible for travel assistance.

MAXIMUM GRANT AMOUNT

New and Emerging Organizations: $ 500

Established Organizations:

$1,000

MATCHING REQUIREMENT
All funds awarded must be matched, dollar-for-dollar, by the grantee organization .

REVIEW CRITERIA
Applications will be reviewed based on the appropriateness of the proposed technical assistance to the development of the organization, and the appropriateness and qualifications of the consultant(s) to be employed. Applications for attendance at workshops, seminars, conferences and other leadership development programs will also be reviewed for the appropriateness and quality of the event to be attended. The applicant organization's degree of commitment to the process will be considered, and priority will be given to applications from organizations that represent underserved populations or communities.

Technical Assistance Program Guidelines

Page43

0

0

0

ALLOWABLE EXPENSES

0

0

Consultancy: Only consultant fees and travel expenses may be included in the application budget.

0

0

Workshops, Conferences & Seminars: Only registration fees and travel expenses are allowable.

0

GCA Travel Expense Limits: Hotel - $75.00 per night; Meals - $28.00 per day; Mileage - $.25 per mile; AirFare - Travel should be

0

at the least expensive coach-class fare available. Higher rates for hotels and meals when attending workshops or conferences may

0

be allowed but must be approved by GCA staff in advance.)

0

0

LIMIT ON NUMBER OF GRANTS

0

0

The Council reserves the right to limit the number of grants that an organization may receive during a fiscal year.

0

0

APPLICATION DEADLINE

0

0

The application deadline is open. However, applications should be received at least two weeks before the beginning of the proposed

0

technical assistance project.

0

0

PROJECT PERIOD

0

0

Projects must take place between July 1, 1999 and June 30, 2000.

0

0

0

0

0

0

0

Technical Assistance Program Guidelines

0

Page44 .

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TOURING PROGRAM GUIDELINES

This program promotes touring as a means of sharing resources with areas of the state that have limited access to arts programming. Artists listed on the Touring Roster have all been approved for touring by the GCA after panel review.
Presenters interested in sponsoring arts programming offered by any of the groups or individuals listed on the Touring Roster should contact the artist or group directly for information on proposed tour activities, tour fees, technical requirements, and tour management. Once these arrangements are agreed to, the presenter and artist(s) should sign a contract. If the presenter cannot present the program without GCA support, the presenter should ask for a contingency clause in the contract.
Organizations currently receiving General Operating Support grants from GCA are eligible for up to 25 percent of the fees of any group or individual listed on the Touring Roster. Other presenters are eligible for up to 35 percent of the fee. All organizations which book artists deeply rooted in and reflective of a specific ethnic or cultural experience are eligible for up to 35 percent of the artist's fees .

ELIGIBLE APPLICANTS
Potential presenters may apply for funding to sponsor only arts programming provided by groups and individuals on the approved
Touring Roster. A potential presenter must be located outside a 40-mile radius of the home base of the group qIr individual on the
Touring Roster. Funding may be requested to present any number of groups or individuals.
Organizations eligible to apply to the GCA for funds must be incorporated in Georgia and must be classified by th~ Internal Revenue
Service under Section 501 (c)(3) of the IRS Code as nonprofit, tax-exempt organizations to which donations I are deductible as charitable contributions under Section 170(c)(2). Public educational institutions and units of local/state government also are eligible to apply.

Touring Program Guidelines

Page45

,-------------------------------------------------~--~~------

-

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0

0

We serve organizations including community arts councils, agencies, and organizations for the library, performing and visual arts.

0

GCA also provides support for presenters such as cultural support groups, public libraries, parks or recreation departments, school

0

systems, and civic organizations.

0

0

GCA does not fund groups or programs which serve primarily students or faculty of schools, colleges, or universities. The Council

0

also does not fund organizations that exist primarily for the benefit of their members.

0

0

PRESENTER REVIEW CRITERIA

0

0

Although every effort will be made to fund eligible applicants at the full allowable fee percentage, grants may be awarded for less if

0

requests for funding exceed funds available. In that event, either all eligible applicants will receive a reduced percentage of fee

0

support or, if it is not possible to fund all eligible applicants at a reasonable percentage of the fee, applicants will be selected for

0

funding based on the following criteria:

0

0

the location of the presenting organizations and the need to enhance the cultural diversity of arts activities in the area;

0

program accessibility for culturally and ethnically diverse populations and people with disabilities; and

0

programs which present or are presented by multicultural groups.

0

0

Applicants requesting support for more than one event may also receive less than full support so that available funds can be spread

0

as widely as possible.

0

0

0

0

0

0

0

0

Touring Program Guidelines

0

page46

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TOURING ARTIST GUIDELINES
This program selects groups and individuals for inclusion in the Georgia Council for the Arts (GCA) Touring Artist Roster. The GCA maintains a roster of panel-approved artists/groups that have demonstrated their artistic excellence and the ability to handle touring . The Roster is open to Georgia-based groups and individuals in all arts disciplines. The Roster is made available free of charge to community arts councils, agencies administering the Grassroots Arts Program, and to presenting organizations funded by the GCA. Funding is available for presenters to bring in GCA roster artists for concerts, workshops and exhibitions.
DEADLINE
Application must be postmarked by February 15, 2000.
APPROVAL PERIOD
July 1, 2000 through June 30, 2001 for groups/individuals applying for one-year approval. July 1, 2000 through June 30, 2003 for groups/individuals applying for three-year approval after being on the Roster for two successive years.

Touring Artist Guidelines

Page 47

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0

ELIGIBILITY

0

0

The Roster is open to groups and individuals in all disciplines for exhibitions, performances, readings and other arts programming.

0

Artists who have been approved for the Roster for two consecutive years must reapply only every three years. GCA reserves the

0

rights to require a touring group or individual to re-qualify for the Roster before the end of a three-year period if circumstances

0

warrant.

0 0

Individual Artists must be legal residents of Georgia on the application date and must remain legal residents during the approval

0

period. Applicants cannot be full-time students on the application date or during the approval period. If appropriate, an individual

0

artist may apply to tour with an accompanist, who does not have to submit a separate application.

0

Groups can be incorporated or unincorporated, but they cannot be student organizations, and they must be based in Georgia.

0

0

Unincorporated groups must have applications signed by a legal Georgia resident as the authorized official and at least 50 percent of

0

the group's members must be legal residents of Georgia, as documented by a membership roster.

0

Incorporated groups must be nonprofit, tax-exempt 501 (c)(3) organizations, as documented by a copy of an IRS letter of tax-exempt

0

status and a copy of the Certificate of Incorporation for the State of Georgia.

0

0

APPLICATION PROCEDURE

0

0

Roster artists that were given three-year approval for their application on February 15 of 1998 or 1999 need only submit a letter by

0

the deadline indicating their desire to stay on the Roster for 2000-2001. All other applicants must submit the complete application. If

0

you are uncertain whether to submit an application, please call the GCA at 404/685-2787.

0

0

The Touring Roster Application form includes a Previous Presenter Reference form which must be sent to three organizations which

0

have previously presented the applicant's programming. In the case of no prior touring history, the applicant should use the Potential

0

Presenter Reference form to get references from three potential presenters familiar with the applicant's programming.

0

0

Touring Artist Guidelines

0

Page48

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0

....

REVIEW CRITERIA
Applications in this category will be reviewed based on artistic excellence and sufficient staff and administrative experience to manage a tour. The presenter advisory panel will review applications at its spring panel meeting. Groups and individuals whose arts programming is recommended by the panel and approved by the GCA will be listed on the Roster.
BOOKINGS
The GCA does not serve as a booking agent for artists listed on the Roster, nor does listing on the Roster guarantee selection by presenters. Touring artists should plan their promotion .
GRASSROOTS ARTS PROGRAM
The Georgia Grassroots Arts Program (GAP) makes funds for arts projects and services available to each county in the state. These funds are administered by regional Grassroots Agencies, which are responsible for developing a funds distribution plan for their region. A special GAP Technical Assistance Program is also available for Grassroots Agencies. Contact the GCA at 404-685-2787 for more information .

Touring Artist Guidelines

Page49

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0

THE GEORGIA CHALLENGE PROGRAM

0

0

0

0

The Georgia Challenge Program provides matching grants to school systems to develop and implement sequential, curriculum-

0

based arts education in kindergarten through fifth grade, in music, theater, dance and the visual arts. The focus of the program is to

0

assist local school systems in the development and implementation of curriculum-based arts education programs. This program is

0

0

sponsored by the Georgia Council for the Arts and funded through the appropriations of the Georgia General Assembly.

0

0

GRANT FUNDS

0

0

Grant funds must be used to plan, develop, implement and expand K-5 sequential, curriculum-based arts education. The Georgia

0

Challenge is striving to infuse basic arts education into the curriculum on the same level as other core subjects. The Georgia

0

Challenge promotes a partnership between school administrators, classroom teachers, art specialists, community members and local

0

resources. Funded programs should result in permanent, systemic, educational improvement.

0

0

SCHOOL SYSTEMS

0

0

School Systems may apply for grants in any or all of four artistic disciplines: dance, theater, music and visual arts. Funds will be

0

allocated only for new or expanded programming within the applicant school system to plan, develop and implement a curriculum-

0

based arts education program. Grant funds may be used to provide teacher in-service training programs for arts specialists and

0

classroom teachers. If the proposed program is to be based in a limited number of schools, it should demonstrate potential for

0

replication throughout the school system.

0

Georgia Challenge Program

0

Page SO

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GEORGIA CHALLENGE PROGRAM SITES
Challenge Program Sites are selected based upon a competitive review of applications. Funds are awarded based on a one-to-one matching formula. In the past five years, over$ 3.5 million dollars in grant funds have been distributed to 57 school systems across the state. To apply for this exciting program, contact the GCA at 404.685.2787 fdr program guidelines and applications.
Jl

Georgia Challenge Program

Page 51

0

0

0

0

0

ADDITIONAL RESOURCES

0

0

0

0

Alternate ROOTS

The Georgia Artists Registry

0

Atlanta, Georgia - 404-577-1 079

Atlanta, Georgia- 404-733-5025

Institute of Museum and Library

0

Science

0

American Association of Museums Washington, DC- 202-289-1818

Georgia Assembly of Community Arts Agencies

Washington, DC- 202-786-0536

0

770-483-4091

National Endowment for the Arts

0

Americans for the Arts Washington, DC- 202-371-2830

Georgia Association of Museums

Washington, DC- 202-682-5400

0

and Galleries

Opera America

0

American Symphony Orchestra League Washington, DC- 202-776-0212

Albany, Georgia- 912-439-8400 Georgia Citizens for the Arts

Washington, DC- 202-347-9262

0

Southeastern Museums Conference

0

Atlanta, Georgia - 404-876-1720

Baton Rouge, Louisiana - 504-383-

0

Arts for All (formerly Special Audiences)

Georgia Humanities Council

5042

0

Atlanta, Georgia - 404-221-1270

Atlanta, Georgia - 404-523-6220

Southeastern Regional Ballet

0

Association

0

Association of Performing Arts Presenters

Georgia Volunteer Lawyers for the Arts

Flowery Branch, Georgia -770-9674443

0

Washington, DC- 202-833-2787

Atlanta, Georgia

0

Chamber Music America

404-873-3911 (in Atlanta) 800-337-8665 (outside Atlanta)

Southern Arts Federation Atlanta, Georgia - 404-874-7244

0

New York, NY- 212-242-2022

0

Dance USA Washington, DC- 202-833-1717

Georgia Writers, Inc. Marietta, Georgia -770-943-5699

Theatre Communications Group New York, NY- 212/697-5230

0 0

IMAGE Film and Video Center

0

Atlanta, Georgia - 404-352-4225

0

Additional Resources

Page 52

0

0

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CONTACT INFORMATION

If you have any questions regarding these program guidelines or to request an application, please call us as follows:

Music, Theater, Presenter, and Touring Community Arts and Literature
Dance, Media Arts and Visual Arts Georgia Challenge
Georgia Folklife and Traditional Arts Apprenticeship
GCAIYA Artists-In-Education Residency Program TTY users
Applications on computer disk

Rick George Ann R. Davis

404-685-2795 404-685-2796

Richard Waterhouse 404-685-2797

Molly Tyson Allen 404-685-2791

Aimee Schmidt

404-685-2786

Jeanene Williams 404-589-0644

404-685-2799 404-685-2787

Contact Information

Page 53

0

0

0

0

0

ARTS COUNCIL STAFF

0

0

0

0

Interim Executive Director and Director, Grant Programs (Music,

Rick George

rgeorge@ arts-ga.com

404-685-2795

0

Theater, Presenter, Touring)

0

Grants Manager (Literature, CAPS,

Ann R. Davis

ard@ arts-ga.com

404-685-2796

0

Multicultural Issues)

..

0

Grants Manager (Dance, Visual Arts, Richard Waterhouse waterhouse@ arts-ga.com 404-685-2797

0

ADA/504 Issues)

0

Program Director, Arts Education

Molly Tyson Allen

Moll)l@arts-ga.com

404-685-2791

0

Program Director, Georgia Folklife

Aimee Schmidt

Aschmidt@ arts:ga.coin 404-685-2786

0

Program

0

Director, Administrative Services

Yvonne Greene

Yvonne@arts-ga.com

. 404-685-2798

0

Administrative Assistant.

Angie Hannon

Angie@ arts-ga.com

404-685-2792

0

Accounting Services

Diane Cannon

Diane@ arts-ga.com

404-685-2793

0

Administrative Clerk, Grants Programs Tamara Crawford

Tamara@ arts-ga.com

404-685-2790

0

Receptionist

PamWonnum

Pam@ arts-ga.com

404-685-2787

0

0

0

0

0

0

0

0

Contact lnformationand Arts Council Staff

0

Page 54

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PANELIST RECOMMENDATION FORM
The Georgia Council for the Arts seeks recommendations for its peer review advisory panels that review applications from organizations and artists and make recommendations to the Council for funding. Panelists are selected from across the state to represent a variety of disciplines, expertise, aesthetic interests, and ethnic backgrounds. Prospective panelists' qualifications are evaluated for organization review panels. Organization panels include: Community Arts Programs & Services, Dance, Literary Arts, Music, Presenters, Theatre, and Visual Arts . Panel meetings are held at the GCA office in the Atlanta area and may be scheduled for up to two consecutive days. Panelists appointed to one of the seven organization panels must attend an orientation meeting at the GCA office before the first panel meeting and may be asked to conduct on-site evaluations of applicant organizations. Panelists are reimbursed for travel expenses. Recommendations must be postmarked on or before March 1 to be considered for the next year's panels. Recommendations are kept on file and need not be resubmitted. Submit this completed form to the GCA with a copy of the prospective panelist's resume . Recommendations submitted without resumes will not be considered. Mail to:
Georgia Council for the Arts 260 14th St. NW, Suite 401 Atlanta, GA 30318 For additional information, please call404-685-2787. Type or print. The Panelist Recommendation Form may be photocopied.

Panelist Recommendation Form

Page 55

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0

0

INDIVIDUAL RECOMMENDED

0

Name __________________________________________________________________________

0

Mailing Address---------------------------------------------------------------------

0

Organization -------------------------------- Title___________________________

0 0

County - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Phone Number (___}_____________

0

FAX Number (,___ -------------------Email address-------------------------------

0

0

INDIVIDUAL SUBMITIING RECOMMENDATION

0

0

Name ____________________________________________________________________

0

Mailing Address---------------------------------------------------------------

0

Organization -------------------------------- Title______________________________

0

Councy ----------------------------------- Phone Number(___}___________

0 0

FAX Number(___ -------------------- Email address------------------------------

0

0

DESIGNATION OF INDIVIDUAL

0

(Select ONE which best describes individual recommended as a panelist. Please see next page for code numbers.)

0

0

__ __ Please fill in the code number.

0

0

DISCIPLINE

0

0

(Select ONE which best describes the primary area of work in the arts for the individual recommended. If the individual is involved with

0

several disciplines, indicate the primary one.)

0

__ __ Please fill in the code number.

0

0

Panelist Recommendation Form

Page 56

0

0



01 Dance

A

ballet

B

ethnic/jazz

c

modem

02 Music

A

band

B

chamber

c

choral

D

new

E

ethnic

F

jazz

G

popular

H

solo/recital

I

orchestral

03 Opera/Music Theatre

A

opera

B

musical theatre

04 Theatre

A

theatre - general

B

mime

c

puppet

E

theatre for young

audiences

05 Visual Arts

A

experimental

B

graphics

c

painting

D

sculpture

06 Design Arts

A

architecture

B

fashion

c

graphic

D

industrial

E

interior

F

landscape

architecture

G

urban/metropolitan

07 Crafts

A

clay

B

fiber

c

glass

D

leather

E

metal

F

paper

G

plastic

H

wood

I

mixed media

08 Photography (include holography)

09 Media Arts

A

film

B

audio

c

video

10 Literature

A

fiction

B

non-fiction

c

playwriting

D

poetry

11 Interdisciplinary

12 Folk Arts

13 Humanities

14 Multi-disciplinary

15 Non-arts I Nonhumanities

EXPERTISE

(Indicate the expertise most directly related to the discipline marked above, and then check a maximum of two additional areas of expertise only if the additional areas are significant in evaluating a potential panelist.)

01 Dance

Administrator

Choreographer

Dancer

Educator

Other (specify)

03

02 Music Administrator Composer Conductor
Panelist Recommendation Form

Educator Instrumentalist Vocalist Other (specify)
Opera/Music Theatre Administrator Composer Conductor Educator Instrumentalist

Set Designer Vocalist Other (specify)
04 Theatre Actor Administrator Costume Designer Director Educator Set Designer

Other (specify)
05 Visual Arts Administrator Artist Curator Educator Other (specify)
06 Design Arts Administrator Page 57

Artist Curator Educator Other (specify)
07 Crafts Administrator Artist Curator Educator Other (specify)
08 Photography Administrator Artist Curator Educator

Other (specify)
09 Media Arts Administrator Artist Curator Educator Other (specify)
10 Literature Administrator Editor Educator Writer Other (specify)
11 Interdisciplinary

Specify primary expertise:
12 Folk Arts Administrator Curator Dancer Educator Musician Storyteller/actor Visual artist/craftsman Other (specify)
13 Humanities Administrator Educator

CHARACTERISTICS

(Check categories below which describe the potential panelist's predominant characteristics.)

American Indian I Alaskan Native Asian/Pacific Islander Black, not Hispanic
Hispanic
White, not Hispanic

Multiracial Under 25 years 25-35 35-45 45-55

Over 55 Male Female Hearing impaired Visually impaired

Panelist Recommendation Form

0

0

0

Scholar

0

Other (specify)

0

14 Multi-disciplinary

0

Specify primary expertise:

0

0

0

15 Non-arts/ Non-humanities

0

Administrator

0

Board member Educator

0

Government

0

Other (specify)

0

0

0

0

0

0

0

Mobility impaired

0

0

Otherwise mentally or physically impaired

0

Please explain:

0

0

0

0

0

0

0

0

Page 58

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RETURN RECEIPT CARD

Please place your name and address and a 20-cent stamp on this card, cut it out and paper clip it to the front of your original application. We will return the card to you-indicating that your application has been received. If you have any questions regarding these guidelines and applications, please call the Georgia Council for_the Arts at 404-685-2787.
If the card is not filled out and stamped, it will not be returned.

GEORGIA COUNCIL FOR THE ARTS 260 141h Street, NW, Suite 401 Atlanta, GA 30318-5360

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GEORGIA COUNCIL FOR THE ARTS

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260 141h Street, Suite 401

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Atlanta, Georgia 30318

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404-685-2787

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