Yerba Buena Center for the ArtsYerba Buena Center for the Arts
At the Black and Brown Comix Arts Festival, a Geeks’ and Sci-fi Lovers’ Family Reunion
60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA
For La Doña, SF’s Guaranteed Income Pilot Supports A Rising Music Career
'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal?
It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs
YBCA Launches ‘Artist Power Center’ Resource for Financially Struggling Artists
Survey: SF Arts Groups Expect $73 Million in Losses During Coronavirus Crisis
With 'Quantopia,' DJ Spooky Ponders the Evolution of the Internet
Janet Mock, Steve Kerr, Rafael Casal and More On This Year's YBCA 100
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The two-day fest, which debuted in 2015, aims to decenter the white gaze of the mainstream comics industry in favor of narratives that explore Black and brown history, culture, imagination and possibility.\u003c/p>\n\u003cp>After a two-year virtual run due to the pandemic, the San Francisco festival has reemerged with a stacked slate of programming. Jan. 15 will feature film screenings alongside a series of panels on Afrofuturism; Egyptian influences on modern-day superheroes; and how the past, present and future can be interwoven into new, expansive stories. Jan. 16 will welcome the long-awaited BCAF Expo, a convention-style event where a wide range of mainstream and indie artists will be selling their comics, illustrations, books and other creative works.[aside label=\"Related Stories\" postID=\"arts_13921425,arts_13890579,arts_13914865\"]\u003c/p>\n\u003cp>“It’s like the Super Bowl of Black creators on the West Coast,” says Oakland artist \u003ca href=\"https://www.instagram.com/nuthingoodat4/\">Avy Jetter\u003c/a>, a longtime BCAF exhibitor known for her zombie horror comic \u003cem>Nuthin Good Ever Happens at 4 a.m.\u003c/em> and a series of personal zines that detail her struggles with grief and health. At the first fest, she felt like “such a noob,” worried that she would stick out amongst the other more established artists. But as the day went on, Jetter was surprised at how many fellow comics lovers and creators approached her to offer support, encouragement and collaboration. Now, every time she returns, it “feels like a family reunion.”\u003c/p>\n\u003cp>BCAF was sparked by a conversation between comic book artist \u003ca href=\"https://www.johnjenningsstudio.com/\">John Jennings\u003c/a> and NorCalMLK Foundation executive director \u003ca href=\"https://norcalmlkfoundation.org/people/aaron-grizzell/\">Aaron Grizzell\u003c/a> as they sat for a meal in the summer of 2014. Inspired by the Schomburg Center’s annual \u003ca href=\"https://www.schomcom.org/\">Black Comic Book Festival\u003c/a> in New York, the two were determined to carve out a space that would celebrate and honor Black imagination in the Bay Area. Soon after, comics creator \u003ca href=\"https://bcafcon.org/about/advisors/david-walker/\">David Walker\u003c/a> and cultural anthropologist \u003ca href=\"https://twitter.com/swcarpenter\">Stanford Carpenter\u003c/a> got on board, forming a seminal part of the fest’s advisory committee.\u003c/p>\n\u003cp>“You have a group of people who are creatives, who are scholars and who are managers and executives at nonprofits, who just got together and asked, ‘Would it be cool if we did this?’” says Carpenter. “And then answered it by doing it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BjR5aoP8dOM\u003c/p>\n\u003cp>Organizers say BCAF was a success from the get-go, drawing large crowds who were hungry for the bold, diverse stories that were often missing from the shelves of their local comic stores. In place of cookie-cutter superheroes, attendees found Black characters like the brawny vigilante Luke Cage, the nerdy and sensitive student Miles Morales and the katana-wielding apocalyptic survivor Michonne Grimes.\u003c/p>\n\u003cp>There were also independently published zines, comics and graphic novels that illustrated poignant stories — both real and fiction — about the struggles and joys of navigating different worlds and challenges as a person of color. From the beginning, organizers stressed the importance of spotlighting local, indie creators at the convention, as well as the power of representation.\u003c/p>\n\u003cp>“When we begin to see ourselves in cultural spaces and sort of interact with ourselves in regular and normal ways in popular culture,” says Grizzell, “then we find out that, like back in the day, ‘Black is beautiful,’ right?”\u003c/p>\n\u003cp>At BCAF, all comics lovers, old and young, are encouraged to wander without shame. Nothing is a “guilty pleasure,” says writer and BCAF advisor \u003ca href=\"https://www.shawntaylor.net/\">Shawn Taylor.\u003c/a> “It’s such a liberating feeling,” Taylor continues. “Imagine being able to be in your full cultural, ethnic, mythological, folkloric self without having to filter that self through oppressive whiteness, or oppressive maleness or oppressive heterosexuality.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>BCAF 2023 will take place on Jan. 15 and Jan. 16 at the Yerba Buena Center for the Arts in San Francisco. Attendance is free. Limited space is available for the BCAF Party, a celebration at the Cartoon Art Museum on the evening of Jan. 15. Registration is required. \u003ca href=\"https://bcafcon.org/events/\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The festival, a hub for BIPOC cartoonists and makers, returns in person Jan. 15 and 16 in San Francisco. ","status":"publish","parent":0,"modified":1705005984,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":711},"headData":{"title":"At the Black and Brown Comix Arts Festival, a Geeks’ and Sci-fi Lovers’ Family Reunion | KQED","description":"The festival, a hub for BIPOC cartoonists and makers, returns in person Jan. 15 and 16 in San Francisco. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13923606/at-the-black-and-brown-comix-arts-festival-a-geeks-and-sci-fi-lovers-family-reunion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the weekend of Martin Luther King Jr. Day, the \u003ca href=\"https://bcafcon.org/\">Black and Brown Comix Arts Festival\u003c/a> (BCAF) will make its in-person return at the \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a>. The two-day fest, which debuted in 2015, aims to decenter the white gaze of the mainstream comics industry in favor of narratives that explore Black and brown history, culture, imagination and possibility.\u003c/p>\n\u003cp>After a two-year virtual run due to the pandemic, the San Francisco festival has reemerged with a stacked slate of programming. Jan. 15 will feature film screenings alongside a series of panels on Afrofuturism; Egyptian influences on modern-day superheroes; and how the past, present and future can be interwoven into new, expansive stories. Jan. 16 will welcome the long-awaited BCAF Expo, a convention-style event where a wide range of mainstream and indie artists will be selling their comics, illustrations, books and other creative works.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"arts_13921425,arts_13890579,arts_13914865"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s like the Super Bowl of Black creators on the West Coast,” says Oakland artist \u003ca href=\"https://www.instagram.com/nuthingoodat4/\">Avy Jetter\u003c/a>, a longtime BCAF exhibitor known for her zombie horror comic \u003cem>Nuthin Good Ever Happens at 4 a.m.\u003c/em> and a series of personal zines that detail her struggles with grief and health. At the first fest, she felt like “such a noob,” worried that she would stick out amongst the other more established artists. But as the day went on, Jetter was surprised at how many fellow comics lovers and creators approached her to offer support, encouragement and collaboration. Now, every time she returns, it “feels like a family reunion.”\u003c/p>\n\u003cp>BCAF was sparked by a conversation between comic book artist \u003ca href=\"https://www.johnjenningsstudio.com/\">John Jennings\u003c/a> and NorCalMLK Foundation executive director \u003ca href=\"https://norcalmlkfoundation.org/people/aaron-grizzell/\">Aaron Grizzell\u003c/a> as they sat for a meal in the summer of 2014. Inspired by the Schomburg Center’s annual \u003ca href=\"https://www.schomcom.org/\">Black Comic Book Festival\u003c/a> in New York, the two were determined to carve out a space that would celebrate and honor Black imagination in the Bay Area. Soon after, comics creator \u003ca href=\"https://bcafcon.org/about/advisors/david-walker/\">David Walker\u003c/a> and cultural anthropologist \u003ca href=\"https://twitter.com/swcarpenter\">Stanford Carpenter\u003c/a> got on board, forming a seminal part of the fest’s advisory committee.\u003c/p>\n\u003cp>“You have a group of people who are creatives, who are scholars and who are managers and executives at nonprofits, who just got together and asked, ‘Would it be cool if we did this?’” says Carpenter. “And then answered it by doing it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BjR5aoP8dOM'\n title='//www.youtube.com/embed/BjR5aoP8dOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Organizers say BCAF was a success from the get-go, drawing large crowds who were hungry for the bold, diverse stories that were often missing from the shelves of their local comic stores. In place of cookie-cutter superheroes, attendees found Black characters like the brawny vigilante Luke Cage, the nerdy and sensitive student Miles Morales and the katana-wielding apocalyptic survivor Michonne Grimes.\u003c/p>\n\u003cp>There were also independently published zines, comics and graphic novels that illustrated poignant stories — both real and fiction — about the struggles and joys of navigating different worlds and challenges as a person of color. From the beginning, organizers stressed the importance of spotlighting local, indie creators at the convention, as well as the power of representation.\u003c/p>\n\u003cp>“When we begin to see ourselves in cultural spaces and sort of interact with ourselves in regular and normal ways in popular culture,” says Grizzell, “then we find out that, like back in the day, ‘Black is beautiful,’ right?”\u003c/p>\n\u003cp>At BCAF, all comics lovers, old and young, are encouraged to wander without shame. Nothing is a “guilty pleasure,” says writer and BCAF advisor \u003ca href=\"https://www.shawntaylor.net/\">Shawn Taylor.\u003c/a> “It’s such a liberating feeling,” Taylor continues. “Imagine being able to be in your full cultural, ethnic, mythological, folkloric self without having to filter that self through oppressive whiteness, or oppressive maleness or oppressive heterosexuality.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>BCAF 2023 will take place on Jan. 15 and Jan. 16 at the Yerba Buena Center for the Arts in San Francisco. Attendance is free. Limited space is available for the BCAF Party, a celebration at the Cartoon Art Museum on the evening of Jan. 15. Registration is required. \u003ca href=\"https://bcafcon.org/events/\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923606/at-the-black-and-brown-comix-arts-festival-a-geeks-and-sci-fi-lovers-family-reunion","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_11374","arts_1942","arts_10278","arts_10629","arts_1694","arts_1334","arts_585","arts_699","arts_1955"],"featImg":"arts_13923622","label":"arts_140"},"arts_13915178":{"type":"posts","id":"arts_13915178","meta":{"index":"posts_1591205157","site":"arts","id":"13915178","score":null,"sort":[1656436573000]},"guestAuthors":[],"slug":"ybca-sf-gipa-guaranteed-income-artists-phase-two","title":"60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA","publishDate":1656436573,"format":"standard","headTitle":"60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. [aside postid='arts_13913890']\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\u003c/p>\n\u003cp>https://youtu.be/AGMXdl9Rjq0\u003c/p>\n\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. [aside postid='arts_13914743']\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n","blocks":[],"excerpt":"Galería de la Raza, the Chinese Culture Center and four other organizations selected artists integral to their communities.","status":"publish","parent":0,"modified":1705006679,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1985},"headData":{"title":"60 More San Francisco Artists Receive Guaranteed Income Payments Through YBCA | KQED","description":"Galería de la Raza, the Chinese Culture Center and four other organizations selected artists integral to their communities.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13915178/ybca-sf-gipa-guaranteed-income-artists-phase-two","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913890","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AGMXdl9Rjq0'\n title='//www.youtube.com/embed/AGMXdl9Rjq0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13914743","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13915178/ybca-sf-gipa-guaranteed-income-artists-phase-two","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_3835","arts_879","arts_3447","arts_17882","arts_3226","arts_2209","arts_1955"],"featImg":"arts_13915367","label":"arts"},"arts_13913890":{"type":"posts","id":"arts_13913890","meta":{"index":"posts_1591205157","site":"arts","id":"13913890","score":null,"sort":[1653508803000]},"guestAuthors":[],"slug":"la-dona-ybca-san-francisco-guaranteed-income-pilot-artists","title":"For La Doña, SF’s Guaranteed Income Pilot Supports A Rising Music Career","publishDate":1653508803,"format":"standard","headTitle":"For La Doña, SF’s Guaranteed Income Pilot Supports A Rising Music Career | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>It’s no coincidence that \u003ca href=\"https://www.ladona415.com/\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a> has become one of San Francisco’s biggest breakout stars in the past two years. If you’ve been to her concerts or seen her \u003ca href=\"https://www.youtube.com/watch?v=0W-FaXYeHmg\" target=\"_blank\" rel=\"noopener noreferrer\">music videos\u003c/a>, you’ve immediately noticed that she places a premium on \u003ci>craft\u003c/i>. [aside postID=\"arts_13913750\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-2-1020x574.jpg\"]\u003c/p>\n\u003cp>On stage last Saturday at Oakland’s Fox Theater, La Doña expertly hyped the crowd while switching from powerful vocal runs to trumpet solos and dance moves, all while leading a six-piece band. She’s currently on tour with soul quintet \u003ca href=\"https://www.instagram.com/p/Cd6CMUblMhf/\" target=\"_blank\" rel=\"noopener noreferrer\">Durand Jones & the Indications\u003c/a>, and juggling a busy schedule of studio sessions (not least a collaboration with fellow San Francisco native \u003ca href=\"https://www.instagram.com/p/CdetN7YLFJh/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>).\u003c/p>\n\u003cp>The artist, whose real name is Cecilia Peña-Govea, is in go-mode. Even though the pandemic disrupted the rollout of her highly anticipated debut album, 2020’s \u003ci>Algo Nuevo\u003c/i>, her singular Bay Area blend of rancheras, salsa, reggaeton and hyphy caught the attention of national publications like \u003ci>The New York Times\u003c/i> and \u003ci>Billboard\u003c/i>. This year, she followed up her initial success with a slate of singles, sold-out hometown shows and six performances at South By Southwest. [pullquote size=\"medium\" align=\"right\" citation=\"Stephanie Imah, YBCA\"]‘Artists truly offer unique talent and skill—creativity that fosters social cohesion and belonging, trust, civic engagement. Artists bring so much to a community’s identity.’[/pullquote]\u003c/p>\n\u003cp>But excellence is expensive, and Peña-Govea, who’s not signed to a label, often has to pay out of her own pocket to maintain the momentum of her career. That’s gotten a little easier since she became a recipient of the \u003ca href=\"https://www.guaranteedinc.org/#about\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists\u003c/a> (SF-GIPA), a program administered by \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a>. Given \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">how little musicians earn from streaming\u003c/a>—coupled with the fact that COVID erased two years of touring revenue—the guaranteed income program is proving to be a crucial support structure for independent artists at a time when the economics of the music industry mostly work against them.\u003c/p>\n\u003cp>“[Independent artists] are always hustling,” says Peña-Govea. “Especially because creating art in the way that it needs to be consumed is super expensive, right? Music videos, photo shoots, mixing and mastering, playlisting, doing publicity, all of these things. It’ll cost you $10,000 to put out one single song if you do it to the industry standard.”\u003c/p>\n\u003cp>https://www.instagram.com/p/Cd4isQmr0_d/\u003c/p>\n\u003ch2>Artists are Essential for Healthy Communities\u003c/h2>\n\u003cp>The 130 artists selected for the SF Guaranteed Income Pilot for Artists, which \u003ca href=\"https://www.kqed.org/news/11874499/san-franciscos-guaranteed-income-for-struggling-artists\" target=\"_blank\" rel=\"noopener noreferrer\">launched in May 2021\u003c/a>, receive $1,000 a month for 18 months, no strings attached. Unlike most grants, which fund specific projects, there’s no requirement for output, and no tracking of expenses. The model operates on the principle that artists are vital components of thriving communities, whether their work is profitable in the commercial market or not. (SF-GIPA hasn’t been without controversy: Some artists and organizers have taken issue with \u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">the choice of YBCA to administer the program\u003c/a>, arguing that Mayor London Breed’s office should have selected an organization more embedded in communities of color. Others criticized its \u003ca class=\"c-link\" href=\"https://datebook.sfchronicle.com/entertainment/conflict-over-s-f-and-ybcas-guaranteed-income-for-artists-shows-tension-in-movement-for-racial-equity\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://datebook.sfchronicle.com/entertainment/conflict-over-s-f-and-ybcas-guaranteed-income-for-artists-shows-tension-in-movement-for-racial-equity\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">eligibility criteria and selection process\u003c/a>. YBCA addressed some of the concerns \u003ca href=\"https://static1.squarespace.com/static/61520b7a3397d0569808c600/t/61786fe974d2cf2cbe97b109/1635282924074/Guaranteed+Income+Pilot+Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">in an Oct. 2021 report\u003c/a>.)\u003c/p>\n\u003cp>“Artists truly offer unique talent and skill—creativity that fosters social cohesion and belonging, trust, civic engagement,” says Stephanie Imah, senior manager of artists investments at YBCA. “Artists bring so much to a community’s identity.” [aside postID=\"arts_13913821\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Our-Creative-Futures-Featured-Image-Endeavors-1020x574.jpg\"]\u003c/p>\n\u003cp>That’s certainly true for Peña-Govea, whose lyrics—among narratives of love, queerness and self-empowerment—give voice to Frisco pride and the grief of gentrification, displacement and cultural loss. Raised by a village of artists, teachers and activists in Bernal Heights, she’s buoyed by a close-knit team that wants to see her shine. That includes her partner, her dad and a handful of childhood friends, all of whom are in her band.\u003c/p>\n\u003cp>Peña-Govea is both a culture keeper and an innovator: Growing up as a member of her family band, \u003ca href=\"https://ww2.kqed.org/spark/la-familia-pea-govea/\" target=\"_blank\" rel=\"noopener noreferrer\">La Familia Peña-Govea\u003c/a>, she honed her trumpet, guitarron and vocal skills and mastered a variety of Latin musical traditions. She does her part to pass them down as a mariachi music teacher in the San Francisco and Oakland Unified School Districts, and is a teaching artist in \u003ca href=\"https://sites.google.com/sfjazz.org/sfjazzeducationonline/jazz-in-the-middle\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ’s Jazz in the Middle\u003c/a> music program. And as La Doña, she pushes these traditions forward by blending them with feminist lyrical concepts and the party energy of rap, dembow and reggaeton.\u003c/p>\n\u003cp>Peña-Govea’s approach is resonating with a new generation, as her 54,573 monthly Spotify listeners can attest. But, because Spotify only pays about $0.0038 per stream (this is an unofficial calculation; the streaming service is notoriously opaque about its finances), she says she only earns about $300 a year from the platform. Her art is clearly impactful, but the commercial market isn’t designed to support it. And as housing in the Bay Area only grows more expensive, and gas prices and inflation mount, guaranteed income could emerge as a permanent strategy of keeping music scenes alive in cities like San Francisco. [pullquote size=\"medium\" align=\"right\" citation=\"La Doña, a.k.a. Cecilia Peña-Govea\"]‘It doesn’t have to be Apple’s featured artist for it to be important and impactful artwork. I think the way that we value different types of artists also definitely has to change.’[/pullquote]\u003c/p>\n\u003cp>“Guaranteed income is rooted in this belief that everyone deserves economic security,” says Imah of YBCA. She says other recipients of the program have used the funds to rent studio spaces, and \u003ca href=\"https://www.kqed.org/arts/13912500/liminal-space-sf-trans-artists\" target=\"_blank\" rel=\"noopener noreferrer\">Liminal Space\u003c/a>, San Francisco’s new trans-centering art gallery, received funding from the program. According to YBCA’s voluntary surveys and informal conversations with recipients, other artists have used the funds to travel and see family for the first time in years, pursue educational opportunities, or simply take better care of themselves.\u003c/p>\n\u003cp>“[There are] improvements to mental to mental and emotional health, less stress,” Imah adds.\u003c/p>\n\u003cp>And less financial stress frees up energy to make better art. For Peña-Govea, the Guaranteed Income Pilot provides much-needed stability. “It’s the end of the month and I’m like, ‘Oh my God, what is happening? How am I going to do this?’ I look at the next tour. I have to book all these things,” she says. “And then it’s the first, and I have this little angel descending a grand into my account, and I’m like, ‘OK, thank God.’”\u003c/p>\n\u003cfigure id=\"attachment_13913897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ybca-800x533.jpg\" alt=\"An exterior shot of Yerba Buena Center for the Arts with visitors lined up outside.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts administers the San Francisco Guaranteed Income Pilot for Artists. \u003ccite>(Tommy Lau )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Many Jobs of an Independent Artist\u003c/h2>\n\u003cp>Independent artists like Peña-Govea must juggle multiple roles that—in the well-resourced ecosystem of a major label—are each jobs of their own. There are rehearsals with the band; time in the studio crafting new material; creating social media content and monitoring engagement; and managing all the contracts and logistics that go into booking live performances.\u003c/p>\n\u003cp>“I can’t work a nine-to-five if I have to go on tour and if I have to be churning out all this content and going to different sites for gigs and, you know—I mean, it’s an artist’s life,” says Peña-Govea. “It’s not very conducive [to a job] with full benefits and stable income.”\u003c/p>\n\u003cp>Her teaching work—made up of contract gigs—helps her pay the bills, but that comes with its own challenges. Many children are traumatized from pandemic isolation and poverty; some have fallen behind because of distance learning.\u003c/p>\n\u003cp>“Most of the artists I know definitely do teaching work,” she says. “It’s kind of a catch-22. … If I get sick in the classroom, then I can’t play my gig and I miss that income. What happens if \u003ca href=\"https://www.kqed.org/arts/13912324/mask-requirements-touring-musicians-covid-tsa\" target=\"_blank\" rel=\"noopener noreferrer\">I get sick on the road and I have to quarantine\u003c/a>, and I can’t teach when I get home?”\u003c/p>\n\u003cfigure id=\"attachment_13913898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The $1,000 a month from the Guaranteed Income Pilot only covers a fraction of Peña-Govea’s expenses. It’s crucial to take her band along on tour to capture the full dimension and energy of her sound, she says, but it’s costly. The South by Southwest trip cost about $5,000, and she crowdfunded to cover costs for her current tour with Durand Jones & the Indications. With the Guaranteed Income Pilot, the regular check on top of earnings from teaching means that she can breathe easier, and spend more time working on her craft instead of constantly hustling for grants.\u003c/p>\n\u003ch2>Taking Guaranteed Income from Pilot to Policy\u003c/h2>\n\u003cp>There’s a lot of need among artists in a gentrified city like San Francisco, which Peña-Govea refers to as a “contested area.” Coming to fill that need is an expanding array of guaranteed income programs, engineered to deal with the realities of rising inequality at a time when wages haven’t increased to keep up with the cost of living.\u003c/p>\n\u003cfigure id=\"attachment_13913912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913912\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ybca-artists-composite-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1536x829.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1920x1037.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Recipients of the San Francisco Guaranteed Income Pilot for Artists include choreographer Marika Brussel, writer and poet Kevin Dublin and dancer Clarissa Dyas. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to the \u003ca href=\"https://sftreasurer.org/pilots-policy-change#1\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Advisory Group\u003c/a>, there are currently nearly a dozen guaranteed income programs either in practice or development in San Francisco alone, and at least six in neighboring counties. In the city, that includes cash payments for \u003ca href=\"https://www.sfexaminer.com/news/pilot-program-would-provide-basic-income-to-aid-san-franciscos-transgender-community/\" target=\"_blank\" rel=\"noopener noreferrer\">low-income transgender people\u003c/a>, as well as for \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-launch-pilot-program-provide-basic-income-black-and-pacific\" target=\"_blank\" rel=\"noopener noreferrer\">Black and Pacific Islanders during pregnancy and six months post-partum\u003c/a>. Oakland has a program for \u003ca href=\"https://www.oaklandca.gov/news/2021/oakland-guaranteed-income-pilot-now-accepting-applications-for-phase-2\" target=\"_blank\" rel=\"noopener noreferrer\">low-income families\u003c/a>, and the \u003ca href=\"https://www.cdss.ca.gov/inforesources/guaranteed-basic-income-projects\" target=\"_blank\" rel=\"noopener noreferrer\">California Department of Social Services\u003c/a> has announced a 2022 rollout of its own pilot focused on young adults who’ve aged out of foster care, as well as low-income pregnant people.\u003c/p>\n\u003cp>The goal for the Guaranteed Income Pilot for Artists, Imah says, is to take the program from pilot to policy. She wants to see it written into law. “We’re really, truly advocating for the city, state and federal level of guaranteed income implementation,” she says. [aside postID=\"arts_13913584\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-1-1020x574.jpg\"]\u003c/p>\n\u003cp>For artists like Peña-Govea, investments in guaranteed income are part of a necessary reexamination of the value of art in society, which isn’t always legible from earnings reports or follower counts. “You’re not going to go see Beyoncé playing at 24th Street BART. What about the people that show up there every single week and are playing for free and vivifying our whole lives?” she says. “It doesn’t have to be Apple’s featured artist for it to be important and impactful artwork. I think the way that we value different types of artists definitely has to change.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Streaming pays pennies, and the pandemic disrupted touring. Here's how guaranteed income can sustain music in San Francisco. ","status":"publish","parent":0,"modified":1705006804,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":2091},"headData":{"title":"For La Doña, SF’s Guaranteed Income Pilot Supports A Rising Music Career | KQED","description":"Streaming pays pennies, and the pandemic disrupted touring. Here's how guaranteed income can sustain music in San Francisco. ","ogTitle":"","ogDescription":"","ogImgId":"arts_13913898","twTitle":"","twDescription":"","twImgId":"arts_13913898"},"source":"Our Creative Futures","sourceUrl":"http://kqed.org/ourcreativefutures","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13913890/la-dona-ybca-san-francisco-guaranteed-income-pilot-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>It’s no coincidence that \u003ca href=\"https://www.ladona415.com/\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a> has become one of San Francisco’s biggest breakout stars in the past two years. If you’ve been to her concerts or seen her \u003ca href=\"https://www.youtube.com/watch?v=0W-FaXYeHmg\" target=\"_blank\" rel=\"noopener noreferrer\">music videos\u003c/a>, you’ve immediately noticed that she places a premium on \u003ci>craft\u003c/i>. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913750","hero":"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-2-1020x574.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On stage last Saturday at Oakland’s Fox Theater, La Doña expertly hyped the crowd while switching from powerful vocal runs to trumpet solos and dance moves, all while leading a six-piece band. She’s currently on tour with soul quintet \u003ca href=\"https://www.instagram.com/p/Cd6CMUblMhf/\" target=\"_blank\" rel=\"noopener noreferrer\">Durand Jones & the Indications\u003c/a>, and juggling a busy schedule of studio sessions (not least a collaboration with fellow San Francisco native \u003ca href=\"https://www.instagram.com/p/CdetN7YLFJh/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>).\u003c/p>\n\u003cp>The artist, whose real name is Cecilia Peña-Govea, is in go-mode. Even though the pandemic disrupted the rollout of her highly anticipated debut album, 2020’s \u003ci>Algo Nuevo\u003c/i>, her singular Bay Area blend of rancheras, salsa, reggaeton and hyphy caught the attention of national publications like \u003ci>The New York Times\u003c/i> and \u003ci>Billboard\u003c/i>. This year, she followed up her initial success with a slate of singles, sold-out hometown shows and six performances at South By Southwest. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Artists truly offer unique talent and skill—creativity that fosters social cohesion and belonging, trust, civic engagement. Artists bring so much to a community’s identity.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Stephanie Imah, YBCA","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But excellence is expensive, and Peña-Govea, who’s not signed to a label, often has to pay out of her own pocket to maintain the momentum of her career. That’s gotten a little easier since she became a recipient of the \u003ca href=\"https://www.guaranteedinc.org/#about\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists\u003c/a> (SF-GIPA), a program administered by \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a>. Given \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">how little musicians earn from streaming\u003c/a>—coupled with the fact that COVID erased two years of touring revenue—the guaranteed income program is proving to be a crucial support structure for independent artists at a time when the economics of the music industry mostly work against them.\u003c/p>\n\u003cp>“[Independent artists] are always hustling,” says Peña-Govea. “Especially because creating art in the way that it needs to be consumed is super expensive, right? Music videos, photo shoots, mixing and mastering, playlisting, doing publicity, all of these things. It’ll cost you $10,000 to put out one single song if you do it to the industry standard.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"Cd4isQmr0_d"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Artists are Essential for Healthy Communities\u003c/h2>\n\u003cp>The 130 artists selected for the SF Guaranteed Income Pilot for Artists, which \u003ca href=\"https://www.kqed.org/news/11874499/san-franciscos-guaranteed-income-for-struggling-artists\" target=\"_blank\" rel=\"noopener noreferrer\">launched in May 2021\u003c/a>, receive $1,000 a month for 18 months, no strings attached. Unlike most grants, which fund specific projects, there’s no requirement for output, and no tracking of expenses. The model operates on the principle that artists are vital components of thriving communities, whether their work is profitable in the commercial market or not. (SF-GIPA hasn’t been without controversy: Some artists and organizers have taken issue with \u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">the choice of YBCA to administer the program\u003c/a>, arguing that Mayor London Breed’s office should have selected an organization more embedded in communities of color. Others criticized its \u003ca class=\"c-link\" href=\"https://datebook.sfchronicle.com/entertainment/conflict-over-s-f-and-ybcas-guaranteed-income-for-artists-shows-tension-in-movement-for-racial-equity\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://datebook.sfchronicle.com/entertainment/conflict-over-s-f-and-ybcas-guaranteed-income-for-artists-shows-tension-in-movement-for-racial-equity\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">eligibility criteria and selection process\u003c/a>. YBCA addressed some of the concerns \u003ca href=\"https://static1.squarespace.com/static/61520b7a3397d0569808c600/t/61786fe974d2cf2cbe97b109/1635282924074/Guaranteed+Income+Pilot+Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">in an Oct. 2021 report\u003c/a>.)\u003c/p>\n\u003cp>“Artists truly offer unique talent and skill—creativity that fosters social cohesion and belonging, trust, civic engagement,” says Stephanie Imah, senior manager of artists investments at YBCA. “Artists bring so much to a community’s identity.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913821","hero":"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Our-Creative-Futures-Featured-Image-Endeavors-1020x574.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s certainly true for Peña-Govea, whose lyrics—among narratives of love, queerness and self-empowerment—give voice to Frisco pride and the grief of gentrification, displacement and cultural loss. Raised by a village of artists, teachers and activists in Bernal Heights, she’s buoyed by a close-knit team that wants to see her shine. That includes her partner, her dad and a handful of childhood friends, all of whom are in her band.\u003c/p>\n\u003cp>Peña-Govea is both a culture keeper and an innovator: Growing up as a member of her family band, \u003ca href=\"https://ww2.kqed.org/spark/la-familia-pea-govea/\" target=\"_blank\" rel=\"noopener noreferrer\">La Familia Peña-Govea\u003c/a>, she honed her trumpet, guitarron and vocal skills and mastered a variety of Latin musical traditions. She does her part to pass them down as a mariachi music teacher in the San Francisco and Oakland Unified School Districts, and is a teaching artist in \u003ca href=\"https://sites.google.com/sfjazz.org/sfjazzeducationonline/jazz-in-the-middle\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ’s Jazz in the Middle\u003c/a> music program. And as La Doña, she pushes these traditions forward by blending them with feminist lyrical concepts and the party energy of rap, dembow and reggaeton.\u003c/p>\n\u003cp>Peña-Govea’s approach is resonating with a new generation, as her 54,573 monthly Spotify listeners can attest. But, because Spotify only pays about $0.0038 per stream (this is an unofficial calculation; the streaming service is notoriously opaque about its finances), she says she only earns about $300 a year from the platform. Her art is clearly impactful, but the commercial market isn’t designed to support it. And as housing in the Bay Area only grows more expensive, and gas prices and inflation mount, guaranteed income could emerge as a permanent strategy of keeping music scenes alive in cities like San Francisco. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘It doesn’t have to be Apple’s featured artist for it to be important and impactful artwork. I think the way that we value different types of artists also definitely has to change.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"La Doña, a.k.a. Cecilia Peña-Govea","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Guaranteed income is rooted in this belief that everyone deserves economic security,” says Imah of YBCA. She says other recipients of the program have used the funds to rent studio spaces, and \u003ca href=\"https://www.kqed.org/arts/13912500/liminal-space-sf-trans-artists\" target=\"_blank\" rel=\"noopener noreferrer\">Liminal Space\u003c/a>, San Francisco’s new trans-centering art gallery, received funding from the program. According to YBCA’s voluntary surveys and informal conversations with recipients, other artists have used the funds to travel and see family for the first time in years, pursue educational opportunities, or simply take better care of themselves.\u003c/p>\n\u003cp>“[There are] improvements to mental to mental and emotional health, less stress,” Imah adds.\u003c/p>\n\u003cp>And less financial stress frees up energy to make better art. For Peña-Govea, the Guaranteed Income Pilot provides much-needed stability. “It’s the end of the month and I’m like, ‘Oh my God, what is happening? How am I going to do this?’ I look at the next tour. I have to book all these things,” she says. “And then it’s the first, and I have this little angel descending a grand into my account, and I’m like, ‘OK, thank God.’”\u003c/p>\n\u003cfigure id=\"attachment_13913897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ybca-800x533.jpg\" alt=\"An exterior shot of Yerba Buena Center for the Arts with visitors lined up outside.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts administers the San Francisco Guaranteed Income Pilot for Artists. \u003ccite>(Tommy Lau )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Many Jobs of an Independent Artist\u003c/h2>\n\u003cp>Independent artists like Peña-Govea must juggle multiple roles that—in the well-resourced ecosystem of a major label—are each jobs of their own. There are rehearsals with the band; time in the studio crafting new material; creating social media content and monitoring engagement; and managing all the contracts and logistics that go into booking live performances.\u003c/p>\n\u003cp>“I can’t work a nine-to-five if I have to go on tour and if I have to be churning out all this content and going to different sites for gigs and, you know—I mean, it’s an artist’s life,” says Peña-Govea. “It’s not very conducive [to a job] with full benefits and stable income.”\u003c/p>\n\u003cp>Her teaching work—made up of contract gigs—helps her pay the bills, but that comes with its own challenges. Many children are traumatized from pandemic isolation and poverty; some have fallen behind because of distance learning.\u003c/p>\n\u003cp>“Most of the artists I know definitely do teaching work,” she says. “It’s kind of a catch-22. … If I get sick in the classroom, then I can’t play my gig and I miss that income. What happens if \u003ca href=\"https://www.kqed.org/arts/13912324/mask-requirements-touring-musicians-covid-tsa\" target=\"_blank\" rel=\"noopener noreferrer\">I get sick on the road and I have to quarantine\u003c/a>, and I can’t teach when I get home?”\u003c/p>\n\u003cfigure id=\"attachment_13913898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The $1,000 a month from the Guaranteed Income Pilot only covers a fraction of Peña-Govea’s expenses. It’s crucial to take her band along on tour to capture the full dimension and energy of her sound, she says, but it’s costly. The South by Southwest trip cost about $5,000, and she crowdfunded to cover costs for her current tour with Durand Jones & the Indications. With the Guaranteed Income Pilot, the regular check on top of earnings from teaching means that she can breathe easier, and spend more time working on her craft instead of constantly hustling for grants.\u003c/p>\n\u003ch2>Taking Guaranteed Income from Pilot to Policy\u003c/h2>\n\u003cp>There’s a lot of need among artists in a gentrified city like San Francisco, which Peña-Govea refers to as a “contested area.” Coming to fill that need is an expanding array of guaranteed income programs, engineered to deal with the realities of rising inequality at a time when wages haven’t increased to keep up with the cost of living.\u003c/p>\n\u003cfigure id=\"attachment_13913912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913912\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ybca-artists-composite-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1536x829.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1920x1037.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Recipients of the San Francisco Guaranteed Income Pilot for Artists include choreographer Marika Brussel, writer and poet Kevin Dublin and dancer Clarissa Dyas. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to the \u003ca href=\"https://sftreasurer.org/pilots-policy-change#1\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Advisory Group\u003c/a>, there are currently nearly a dozen guaranteed income programs either in practice or development in San Francisco alone, and at least six in neighboring counties. In the city, that includes cash payments for \u003ca href=\"https://www.sfexaminer.com/news/pilot-program-would-provide-basic-income-to-aid-san-franciscos-transgender-community/\" target=\"_blank\" rel=\"noopener noreferrer\">low-income transgender people\u003c/a>, as well as for \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-launch-pilot-program-provide-basic-income-black-and-pacific\" target=\"_blank\" rel=\"noopener noreferrer\">Black and Pacific Islanders during pregnancy and six months post-partum\u003c/a>. Oakland has a program for \u003ca href=\"https://www.oaklandca.gov/news/2021/oakland-guaranteed-income-pilot-now-accepting-applications-for-phase-2\" target=\"_blank\" rel=\"noopener noreferrer\">low-income families\u003c/a>, and the \u003ca href=\"https://www.cdss.ca.gov/inforesources/guaranteed-basic-income-projects\" target=\"_blank\" rel=\"noopener noreferrer\">California Department of Social Services\u003c/a> has announced a 2022 rollout of its own pilot focused on young adults who’ve aged out of foster care, as well as low-income pregnant people.\u003c/p>\n\u003cp>The goal for the Guaranteed Income Pilot for Artists, Imah says, is to take the program from pilot to policy. She wants to see it written into law. “We’re really, truly advocating for the city, state and federal level of guaranteed income implementation,” she says. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913584","hero":"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-1-1020x574.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For artists like Peña-Govea, investments in guaranteed income are part of a necessary reexamination of the value of art in society, which isn’t always legible from earnings reports or follower counts. “You’re not going to go see Beyoncé playing at 24th Street BART. What about the people that show up there every single week and are playing for free and vivifying our whole lives?” she says. “It doesn’t have to be Apple’s featured artist for it to be important and impactful artwork. I think the way that we value different types of artists definitely has to change.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13913890/la-dona-ybca-san-francisco-guaranteed-income-pilot-artists","authors":["11387"],"categories":["arts_1"],"tags":["arts_10342","arts_10278","arts_2519","arts_1257","arts_17542","arts_2048","arts_6427","arts_1040","arts_1955"],"featImg":"arts_13913900","label":"source_arts_13913890"},"arts_13911226":{"type":"posts","id":"arts_13911226","meta":{"index":"posts_1591205157","site":"arts","id":"13911226","score":null,"sort":[1648580459000]},"guestAuthors":[],"slug":"samora-pinderhughes-ybca-the-healing-project","title":"'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal?","publishDate":1648580459,"format":"audio","headTitle":"‘The Healing Project’ Asks: How Do We Survive in America? And How Do We Heal? | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.samorapinderhughes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samora Pinderhughes\u003c/a> spent the past eight years exploring two questions.\u003c/p>\n\u003cp>“One is, how do we survive in America? And the other is how do we heal on a daily basis?” says the Bay Area-raised composer, pianist, filmmaker, singer and activist in an interview with KQED.\u003c/p>\n\u003cp>The result of his investigation is \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Healing Project\u003c/em>,\u003c/a> a kaleidoscopic, highly collaborative creative endeavor comprised of a \u003ca href=\"https://www.last.fm/music/Samora+Pinderhughes/GRIEF\" target=\"_blank\" rel=\"noopener noreferrer\">15-track album\u003c/a>; an exhibition at San Francisco’s \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA); an audio archive of interviews with more than 100 people across 15 states who’ve encountered structural violence like incarceration, detention or community shootings in their daily lives; and a concert series, including a performance \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">on Saturday, April 2, at Stanford Live\u003c/a>.\u003c/p>\n\u003cp>“The project as a whole is about the experience of dealing with American institutions that create poverty,” says Pinderhughes. “Because I think a lot of times, we don’t ask people about their experiences with these systems, like, ‘What’s your day to day reality? What are you facing? How do you heal yourself?'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJvoxZpFavo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pinderhughes’ album, \u003cem>Grief\u003c/em>, is at the core of the project. The song “Holding Cell,” which vividly explores the two questions, imagines letters written by three inmates. One is on death row. Another is an undocumented immigrant in a detention center, and a third is in prison awaiting trial. While the chorus highlights the failures of the prison industrial complex across the spectrum (“Holding cell, holding cell / I can’t get well while you hold me”), the second verse points to a more healing future:\u003c/p>\n\u003cp>\u003cem>I want a quiet\u003cbr>\nlife In a flat\u003cbr>\nwith Church on a Sunday I got a voice\u003cbr>\nAnd I got a laugh\u003cbr>\nAnd I’ll use it one day\u003c/em>\u003c/p>\n\u003cp>[aside postID='arts_12059349']\u003cem>The Healing Project\u003c/em> involves dozens of collaborators, among them Pinderhughes’ own sister, the renowned flautist and vocalist \u003ca href=\"https://nyphil.org/about-us/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Elena Pinderhughes\u003c/a>. Elena is featured on the album and will appear in live performances alongside her brother; filmmaker \u003ca href=\"https://christianpadron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christian Padron\u003c/a> collaborated on several music videos based on songs from the new album and additional films; and weaving/fiber artist \u003ca href=\"https://ybca.org/artist/nnaemeka-emeka-ekwelum/\" target=\"_blank\" rel=\"noopener noreferrer\">Nnaemeka Ekwelum\u003c/a>‘s series of brilliantly-colored, intricate “Grief Cloths” adorn the walls of the YBCA exhibition.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“When I was weaving the ‘Grief Cloths,’ I wasn’t just thinking through my own personal grief,” says Ekwelum, who started making the flowing sculptures from plastic lacing, yarn and other materials in response to his father’s death in March 2021. “I was also thinking about the collective grief of this moment we’re all living through, with so much despair, dysfunction and structural damage.”\u003c/p>\n\u003cp>Ekwelum says the “Grief Cloths” not only embody personal and systemic grief, but also point towards healing.\u003c/p>\n\u003cp>“I’m coming into weaving from a place of anxiety or a deep sadness. And then by the end of the weaving process, I have this beautiful object that I’ve created from these difficult feelings being reflected back at me,” he says. “I’m modeling a way to transform pain into something beautiful that doesn’t eclipse the significance of what you’re feeling, but can memorialize it in a way where you can look at it and accept the lessons from it without feeling totally deflated or intimidated by what it is.”\u003c/p>\n\u003cfigure id=\"attachment_13911249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief Cloths’ by fiber artist Nnaemeka Ekwelum. Left-hand wall. ‘The Healing Project,’ installation view, Yerba Buena Center for the Arts, 2022. \u003ccite>(Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Healing Project\u003c/em> also includes significant contributions from incarcerated people.\u003c/p>\n\u003cp>A small, blue-colored room in the corner of YBCA’s galleries is devoted to select voices of the many people Pinderhughes interviewed for the project, heard via a looped audio feed. One is activist and artist \u003ca href=\"https://www.keithlamar.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith LaMar\u003c/a>, a death row inmate in Ohio, who’s been in solitary confinement for the past three decades. He is scheduled to be executed next year.\u003c/p>\n\u003cp>“The truly tragic element of my situation is that it’s not personal,” says LaMar (whose meditations can also be heard in a series of videos on social media featuring a sparse musical tracks by Pinderhughes). “This could happen to anybody.”\u003c/p>\n\u003cfigure id=\"attachment_13911248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911248 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of images by Pitt Panther. \u003ccite>(Courtesy Pitt Panther)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the hand-drawn, black-and-white works on paper by Pitt Panther, such as representations of George Floyd and Black Power symbols. Panther is currently serving a prison sentence in Virginia.\u003c/p>\n\u003cp>“Pitt Panther sends me these pieces through the mail,” says Pinderhughes. “He’s one of my favorite artists in the world.”\u003c/p>\n\u003cp>YBCA’s Chief of Program Meklit Hadero says one of the powerful things about \u003cem>The Healing Project\u003c/em> is that it centers real human lived experiences at the same time as exploring massive and seemingly intractable societal problems.\u003c/p>\n\u003cp>“A lot of times when we talk about these big systems, we talk about them from places of statistics or numbers or ways that feel so impersonal that things can get brushed aside,” Hadero says. “It becomes real when it’s about people.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>Pinderhughes hopes \u003cem>The Healing Project\u003c/em> will create space for people to come together to grieve, and mend, and ultimately imagine a more equitable future.\u003c/p>\n\u003cp>“It’s my attempt,” he says, “to communicate an abolitionist vision.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘The Healing Project’ runs through June 19 at Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Samora Pinderhughes performs with Elena Pinderhughes, Howard Wiley, Marcus Shelby, and Bobby Gonz at the Bing Studio at Stanford on Saturday, April 2. \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Samora Pinderhughes uses music, visual art and interviews to explore the damage caused by incarceration, policing and violence.","status":"publish","parent":0,"modified":1705007034,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":997},"headData":{"title":"'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal? | KQED","description":"Samora Pinderhughes uses music, visual art and interviews to explore the damage caused by incarceration, policing and violence.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/99ae4467-d380-4cd4-9c9a-ae6a012a4a0d/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13911226/samora-pinderhughes-ybca-the-healing-project","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.samorapinderhughes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samora Pinderhughes\u003c/a> spent the past eight years exploring two questions.\u003c/p>\n\u003cp>“One is, how do we survive in America? And the other is how do we heal on a daily basis?” says the Bay Area-raised composer, pianist, filmmaker, singer and activist in an interview with KQED.\u003c/p>\n\u003cp>The result of his investigation is \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Healing Project\u003c/em>,\u003c/a> a kaleidoscopic, highly collaborative creative endeavor comprised of a \u003ca href=\"https://www.last.fm/music/Samora+Pinderhughes/GRIEF\" target=\"_blank\" rel=\"noopener noreferrer\">15-track album\u003c/a>; an exhibition at San Francisco’s \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA); an audio archive of interviews with more than 100 people across 15 states who’ve encountered structural violence like incarceration, detention or community shootings in their daily lives; and a concert series, including a performance \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">on Saturday, April 2, at Stanford Live\u003c/a>.\u003c/p>\n\u003cp>“The project as a whole is about the experience of dealing with American institutions that create poverty,” says Pinderhughes. “Because I think a lot of times, we don’t ask people about their experiences with these systems, like, ‘What’s your day to day reality? What are you facing? How do you heal yourself?'”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jJvoxZpFavo'\n title='//www.youtube.com/embed/jJvoxZpFavo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pinderhughes’ album, \u003cem>Grief\u003c/em>, is at the core of the project. The song “Holding Cell,” which vividly explores the two questions, imagines letters written by three inmates. One is on death row. Another is an undocumented immigrant in a detention center, and a third is in prison awaiting trial. While the chorus highlights the failures of the prison industrial complex across the spectrum (“Holding cell, holding cell / I can’t get well while you hold me”), the second verse points to a more healing future:\u003c/p>\n\u003cp>\u003cem>I want a quiet\u003cbr>\nlife In a flat\u003cbr>\nwith Church on a Sunday I got a voice\u003cbr>\nAnd I got a laugh\u003cbr>\nAnd I’ll use it one day\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12059349","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Healing Project\u003c/em> involves dozens of collaborators, among them Pinderhughes’ own sister, the renowned flautist and vocalist \u003ca href=\"https://nyphil.org/about-us/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Elena Pinderhughes\u003c/a>. Elena is featured on the album and will appear in live performances alongside her brother; filmmaker \u003ca href=\"https://christianpadron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christian Padron\u003c/a> collaborated on several music videos based on songs from the new album and additional films; and weaving/fiber artist \u003ca href=\"https://ybca.org/artist/nnaemeka-emeka-ekwelum/\" target=\"_blank\" rel=\"noopener noreferrer\">Nnaemeka Ekwelum\u003c/a>‘s series of brilliantly-colored, intricate “Grief Cloths” adorn the walls of the YBCA exhibition.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“When I was weaving the ‘Grief Cloths,’ I wasn’t just thinking through my own personal grief,” says Ekwelum, who started making the flowing sculptures from plastic lacing, yarn and other materials in response to his father’s death in March 2021. “I was also thinking about the collective grief of this moment we’re all living through, with so much despair, dysfunction and structural damage.”\u003c/p>\n\u003cp>Ekwelum says the “Grief Cloths” not only embody personal and systemic grief, but also point towards healing.\u003c/p>\n\u003cp>“I’m coming into weaving from a place of anxiety or a deep sadness. And then by the end of the weaving process, I have this beautiful object that I’ve created from these difficult feelings being reflected back at me,” he says. “I’m modeling a way to transform pain into something beautiful that doesn’t eclipse the significance of what you’re feeling, but can memorialize it in a way where you can look at it and accept the lessons from it without feeling totally deflated or intimidated by what it is.”\u003c/p>\n\u003cfigure id=\"attachment_13911249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief Cloths’ by fiber artist Nnaemeka Ekwelum. Left-hand wall. ‘The Healing Project,’ installation view, Yerba Buena Center for the Arts, 2022. \u003ccite>(Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Healing Project\u003c/em> also includes significant contributions from incarcerated people.\u003c/p>\n\u003cp>A small, blue-colored room in the corner of YBCA’s galleries is devoted to select voices of the many people Pinderhughes interviewed for the project, heard via a looped audio feed. One is activist and artist \u003ca href=\"https://www.keithlamar.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith LaMar\u003c/a>, a death row inmate in Ohio, who’s been in solitary confinement for the past three decades. He is scheduled to be executed next year.\u003c/p>\n\u003cp>“The truly tragic element of my situation is that it’s not personal,” says LaMar (whose meditations can also be heard in a series of videos on social media featuring a sparse musical tracks by Pinderhughes). “This could happen to anybody.”\u003c/p>\n\u003cfigure id=\"attachment_13911248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911248 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of images by Pitt Panther. \u003ccite>(Courtesy Pitt Panther)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the hand-drawn, black-and-white works on paper by Pitt Panther, such as representations of George Floyd and Black Power symbols. Panther is currently serving a prison sentence in Virginia.\u003c/p>\n\u003cp>“Pitt Panther sends me these pieces through the mail,” says Pinderhughes. “He’s one of my favorite artists in the world.”\u003c/p>\n\u003cp>YBCA’s Chief of Program Meklit Hadero says one of the powerful things about \u003cem>The Healing Project\u003c/em> is that it centers real human lived experiences at the same time as exploring massive and seemingly intractable societal problems.\u003c/p>\n\u003cp>“A lot of times when we talk about these big systems, we talk about them from places of statistics or numbers or ways that feel so impersonal that things can get brushed aside,” Hadero says. “It becomes real when it’s about people.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>Pinderhughes hopes \u003cem>The Healing Project\u003c/em> will create space for people to come together to grieve, and mend, and ultimately imagine a more equitable future.\u003c/p>\n\u003cp>“It’s my attempt,” he says, “to communicate an abolitionist vision.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘The Healing Project’ runs through June 19 at Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Samora Pinderhughes performs with Elena Pinderhughes, Howard Wiley, Marcus Shelby, and Bobby Gonz at the Bing Studio at Stanford on Saturday, April 2. \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911226/samora-pinderhughes-ybca-the-healing-project","authors":["8608"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69","arts_70"],"tags":["arts_10342","arts_10278","arts_2683","arts_1420","arts_3584","arts_1526","arts_1146","arts_2265","arts_585","arts_1040","arts_1955"],"featImg":"arts_13911261","label":"arts_140"},"arts_13890207":{"type":"posts","id":"arts_13890207","meta":{"index":"posts_1591205157","site":"arts","id":"13890207","score":null,"sort":[1607986842000]},"guestAuthors":[],"slug":"it-shouldnt-take-an-emergency-to-fund-artists-basic-needs","title":"It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs","publishDate":1607986842,"format":"standard","headTitle":"It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs | KQED","labelTerm":{},"content":"\u003cp>In March, as soon as shelter-in-place orders set in and businesses closed, the lists were \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">everywhere\u003c/a>: emergency funds for freelancers and creatives, grants divvied up by discipline and region, mutual aid efforts so grassroots they only included a Venmo handle. Navigating these offers of support took time and energy, but for those who received funds, they provided small moments of relief in an otherwise bleak year.\u003c/p>\n\u003cp>San Francisco musician \u003ca href=\"https://www.thehereafterishere.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a>, who was scheduled to set off on a multi-state tour by bike and train this year, has received two emergency grants during the coronavirus pandemic: $1,000 from the California Relief Fund for Artists and Cultural Practitioners and $2,000 from the Hardly Strictly Music Relief Fund. While he’s extremely grateful for that monetary support, $3,000 doesn’t go far in San Francisco.\u003c/p>\n\u003cp>[aside postid='arts_13890093,arts_13890048,arts_13890054' label='What a year'] “Basically what I did here was this was offered, I’m really grateful for it, I did the work to get it, I deposited it in my bank account and then I just transferred it to my landlord’s bank account,” he laughs. “And then I got a month.”\u003c/p>\n\u003cp>Elliott says the real saving grace this year was the fundraising he did to cover the costs of his now-delayed “Freedom Tour 2020,” celebrating the release of his newest album \u003ci>The Information Age\u003c/i>. “There are other times in my career where this could have hit and I don’t know what I would have done,” he says.\u003c/p>\n\u003cp>“I used to say, ‘Well the one thing I know is I can always show up somewhere with my guitar and make some money,’” he says. “And it’s like actually, no, you can’t!”\u003c/p>\n\u003cp>Surveys conducted by \u003ca href=\"https://www.americansforthearts.org/news-room/press-releases/10000-artists-and-creative-workers-report-widespread-job-income-loss-due-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">Americans for the Arts\u003c/a> over the past nine months show that nationally, 62% of artists have become fully unemployed because of the pandemic, and 95% have experienced income loss. In California, the financial impact is substantial, with one-third of the arts, culture and entertainment industry out of work. In an \u003ca href=\"https://www.californiansforthearts.org/statewide-arts-awareness-campaign/#Industries\" target=\"_blank\" rel=\"noopener noreferrer\">ordinary year\u003c/a>, the arts represent $650.3 billion of the state’s economy, and 15.4% of its jobs.\u003c/p>\n\u003cfigure id=\"attachment_13890357\" class=\"wp-caption aligncenter\" style=\"max-width: 2238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg\" alt=\"\" width=\"2238\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg 2238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-2048x1353.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1920x1269.jpg 1920w\" sizes=\"(max-width: 2238px) 100vw, 2238px\">\u003cfigcaption class=\"wp-caption-text\">Data from the San Francisco Bureau of Labor Statistics, September 2020. \u003ccite>(Courtesy Economic Recovery Task Force Report)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A chart in the city of San Francisco’s \u003ci>\u003ca href=\"https://www.onesanfrancisco.org/sites/default/files/inline-files/EconomicRecoveryTaskForceReport_10.08.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Task Force Report\u003c/a>\u003c/i>, published in October, shows the local artistic community’s precarious financial situation in the most plain terms. Already on the low end of the earning spectrum (an average of just over $50,000 a year), the arts, entertainment and recreation sector is second only to “accommodations and food services” in terms of pandemic job losses.\u003c/p>\n\u003cp>It’s bad. Anyone with any connections to the local artistic community knows it’s bad. The question is, what steps can we take to make sure something like this never happens again?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Emergency Grants: ‘They’re Not Even Band-Aids’\u003c/h2>\n\u003cp>The demand on the region’s COVID-19 emergency funds shows just how dire things became only days into shelter-in-place. Artists were already existing on the margins with little to no savings, but the types of jobs that allow for the flexibility to pursue artmaking were some of the first to go: art handling, bartending, events staff, public-facing museum positions.\u003c/p>\n\u003cp>Laura Poppiti, grants program director at the \u003ca href=\"https://www.cciarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Innovation\u003c/a>, which administered five local emergency relief funds in coordination with other Bay Area nonprofits, says the pandemic has made clear there are seismic cracks in our system. “What COVID has brought to light is that grants and these one-off programs, they’re not even Band-Aids,” she says. “We don’t have good or solid safety nets for artists and everyone else who shares those circumstances.”\u003c/p>\n\u003cp>[aside postID='arts_13876893']In some of the grants Poppiti helped oversee, the available money was enough to fund only around half of their applicants. The San Francisco Arts & Artists Relief Fund supported 699 individual artists and 65 arts and culture organizations, but received 1,400 applications in total. The East Bay/Oakland Relief Fund for Individuals in the Arts awarded 515 individuals, but received around 900 applications.\u003c/p>\n\u003cp>Even instances where it might seem like need was met—by the City of San Jose Coronavirus Relief Fund and the \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Music Relief Fund\u003c/a>, which were both able to award all their applicants, 94 artists and 330 roots musicians, respectively—might not be indicative of the true breadth of the situation. The San Jose relief fund only reimbursed eligible expenses as defined by the CARES Act. And Elliott, who received a grant from the Hardly Strictly fund, noted the application process was geared towards musicians who already had an online presence and ready-to-go digital files.\u003c/p>\n\u003cp>As the \u003ci>Economic Recovery Task Force Report\u003c/i> states: “Bureaucracy is even more burdensome at a time of great need.” Multiple nonprofit administrators interviewed for this article spoke to the artistic community’s exhaustion. Not only did artists need to seek out and apply for various grants, many had to navigate filing a claim for Pandemic Unemployment Assistance (PUA), an expansion of unemployment insurance for self-employed workers and independent contractors. (PUA is set to expire on Dec. 26, a fact Poppiti calls “appalling.”)\u003c/p>\n\u003cp>“I can’t imagine the emotional labor and trauma that so many artists were going through, putting out application after application after application and getting rejections,” Poppiti says. “Demand far outweighs the resources available.”\u003c/p>\n\u003cp>And if, like Elliott, you were a recipient of a grant (or two), how does that help you a month, six months, or a year after your main source of income is gone?\u003c/p>\n\u003cfigure id=\"attachment_13890378\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890378\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Venues like the Warfield, which closed in mid-March per San Francisco city orders, won’t reopen until full-capacity indoor events are allowed once again. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alternatives Hampered by Traditional Funding\u003c/h2>\n\u003cp>While even those administering emergency grants admit they’re stop-gap measures, the alternatives are limited by the current funding landscape. Much of what’s available to both nonprofits and individual artists is project-based; funders are interested in pointing to specific exhibitions, performances or objects as the products of their generosity.\u003c/p>\n\u003cp>That approach, Poppiti says, is partly based on the “overhead myth”—that a well-performing nonprofit has low administrative and fundraising expenses.\u003c/p>\n\u003cp>[pullquote size='medium' citation='Laura Poppiti, Center for Cultural Innovation']‘Philanthropy has rewarded arts nonprofits for underpaying their employees.’[/pullquote]Margaret McCarthy, executive director and co-director of \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Exposure\u003c/a>, which dispersed two rounds of emergency funds in lieu of their annual Alternative Exposure grant (normally project-based), says the pandemic has forced many funders to abandon this standard. With space rentals and ticket sales off the table, nonprofits losing their general operating income turned to funders to release previously restricted grants.\u003c/p>\n\u003cp>It’s a shift McCarthy says she’s been trumpeting long before shelter in place. “As organizations, we want to pay our staff an industry-competitive compensation. We have to do things like pay our rent,” she says. “Project-based support just tries to leap over the operating costs in order to produce the more glamorous projects.”\u003c/p>\n\u003cp>This isn’t about privileging arts administrators over artists, but acknowledging an organization as a whole entity, the health of which benefits the broader arts ecosystem. “These are people who should be living full lives,” Poppiti says. “Philanthropy has rewarded arts nonprofits for underpaying their employees.”\u003c/p>\n\u003cp>McCarthy puts it bluntly: “Why should it have to get to an emergency state before we fund the basic needs of organizations?”\u003c/p>\n\u003cp>Extending that line of reasoning out to individual artist grants only makes sense, says Valerie Imus, Southern Exposure’s artistic director and co-director. “It’s so beyond just trying to support artists to buy supplies,” she says. For its first round of emergency grants, Southern Exposure received 189 applications for 60 available slots. The second, restricted to only San Francisco artists, saw 125 applications for just 19 grants.\u003c/p>\n\u003cp>Like other grant administrators, Imus knows the psychological toll of sifting through artists’ statements of need and making incredibly difficult decisions about who would receive funding. In notes of thanks from recipients, they mentioned being able to buy groceries or support their extended family for another month. “The stories were just so hard to read,” she says. “It was heartbreaking to not be able to give more.”\u003c/p>\n\u003cfigure id=\"attachment_13890365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Southern Exposure being used as a polling place on Nov. 3, 2020, with an installation by Related Tactics titled ‘Never Again is Now’ on view. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While other industries have been able to reopen in stages, the arts, culture and entertainment sector can only return in full force once the region is completely reopened. Predicting ongoing need, Theatre Bay Area, in partnership with Dancers’ Group and InterMusic SF, established the \u003ca href=\"https://www.theatrebayarea.org/page/COVID-19relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Performing Arts Worker Relief Fund\u003c/a>, which distributes $500–$1,000 grants to individuals on a rolling basis. So far they’ve raised over $600,000 and funded around 700 applicants, with approximately 120 still on the waiting list and 20–30 more each month.\u003c/p>\n\u003cp>“The fact that people have to reapply … [shows] it’s not enough,” says Kimberley Cohan, TBA’s programs manager. The relief fund is an exercise in rapid response and coalition-building. Cohan says partnering with other organizations pooled their fundraising power and helped get the word out to even more applicants. Immediate financial need is still present, she says, but she’s also turning her attention to other concerns: helping artists stay in the Bay Area.\u003c/p>\n\u003ch2>Problems Grants Can’t Solve\u003c/h2>\n\u003cp>Lee Lavy, a \u003ca href=\"https://leemlavy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">visual artist\u003c/a> and musician who was working as an art handler at the beginning of the year, decided to leave San Francisco with his partner Kelli Wong just before shelter in place took effect. Facing no work and confinement within a tiny apartment, the couple opted instead for Bitterroot Valley, Montana, where Lavy grew up.\u003c/p>\n\u003cp>[pullquote size='medium' align='right']The pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.[/pullquote]“Until the virus hit, we had no intention of leaving San Francisco,” says Lavy, who graduated from UC Berkeley’s MFA program in 2015. In fact, the two returned and resumed work when restrictions lifted somewhat in the summer. But two months later they lost their apartment, a rent-controlled spot Lavy describes as the only reason they were able to live in San Francisco in the first place.\u003c/p>\n\u003cp>Now they’re two of the many artists who have left the Bay Area for good, a decision Lavy notes is only possible because of family support and the couple’s financial ability to move.\u003c/p>\n\u003cp>The frequency of such departures is hard to quantify; we no longer have regular gatherings at which to mark sudden absences. Months from now, when we can once again rub elbows during events, the pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.\u003c/p>\n\u003cfigure id=\"attachment_13880814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/download.jpeg\" alt=\"\" width=\"1280\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-800x618.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-768x593.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-1020x788.jpeg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Okona (top right) and her art critique group on Zoom. \u003ccite>(Chinwe Okona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who have managed to stay, financial difficulties are just one facet of maintaining a creative practice during the pandemic. \u003ca href=\"https://theintersection.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Intersection for the Arts\u003c/a>, a San Francisco nonprofit that offers fiscal sponsorship and professional development to artists, began holding virtual “Coaching Circles” in April. Amy Kweskin, director of professional development, says the weekly conversations followed a fairly clear path through the stages of grief.\u003c/p>\n\u003cp>“Navigating the loss of live, in-person—that’s what they mourned—‘I can’t be on a stage reacting to the energy of the theater, I’m behind this anonymous flat screen,’” Kweskin says. “So we spent a lot of time in those coaching sessions figuring out how do you still get those emotions, how do you get that feedback.”\u003c/p>\n\u003cp>“Especially in the arts, where collaboration is so important, artists and arts workers are not having opportunities to connect,” says Izzy Parlamis, Intersection’s communications director. “The circles allowed for a space to gather and speak.”\u003c/p>\n\u003cp>Just as emergency grants won’t guarantee an artist’s financial stability in the long run, support systems cannot ignore the nonmonetary pressures on the local arts community, which this year included renewed calls for racial justice and the largest fires in the California’s recent history. 2020 demonstrated the need to serve artists as whole people, not just as producers of projects or owners of dwindling bank accounts.\u003c/p>\n\u003ch2>Looking Ahead to 2021\u003c/h2>\n\u003cp>In order to create a Bay Area where artists have any hope of sticking around, let alone meaningfully pursuing their crafts, we need to radically rethink both funding protocols and the types of nonmonetary support offered to artists.\u003c/p>\n\u003cp>Some of the most immediate shifts are coming from the city of San Francisco, signaled within the \u003ci>Economic Recovery Task Force Report\u003c/i>, which identifies the survival of the city’s arts, culture and entertainment sectors as necessary to its economic recovery as a whole. And the report’s already yielded a tangible result: Mayor London Breed announced a pilot program in early October to provide 130 artists with $1,000 a month for at least six months.\u003c/p>\n\u003cfigure id=\"attachment_13880309\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg\" alt=\"Yerba Buena Center for the Arts' Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021.\" width=\"1500\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-1020x574.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts’ Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021. \u003ccite>(Courtesy Yerba Buena Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanne Lee, the deputy director of programs for the San Francisco Arts Commission (SFAC), says the pilot program is “a way to provide a steady consistent stream of income that is nonrestrictive and builds on trust and choice for what artists need.”\u003c/p>\n\u003cp>Yerba Buena Center for the Arts (YBCA) will receive a $870,000 grant to administer the basic income program, along with $250,000 to operate an “Arts Hub” (an expansion on the organization’s \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>) of resources and support services for artists. Funding for both comes from a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">allocation\u003c/a> of the Arts Impact Endowment.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='John Elliott, San Francisco musician']‘There needs to be some restoration of the safety net with no questions asked.’[/pullquote]YBCA’s CEO Deborah Cullinan says ideally the basic income program will last much longer than six months, so they can more deeply study how it will impact artists’ lives. Applications will be open to individual artists, with the first month’s funds disbursed by March 2021. The program will prioritize those who had little to no safety net even before the pandemic: BIPOC artists, LGBTQ+ artists and artists with disabilities.\u003c/p>\n\u003cp>Cullinan sees the Artist Power Center and the basic income pilot program as part of an encompassing plan to develop the capacity of artists who are driving social change. “It has to be that you’re addressing the whole person,” she says. “It can’t be what we’ve done over these many years, which is this kind of transactional grantmaking.”\u003c/p>\n\u003cp>UBI is gaining traction nationally, thanks in part to Andrew Yang’s presidential campaign, as well as evidence that the direct cash provided through the CARES Act prevented an estimated \u003ca href=\"https://www.nytimes.com/2020/06/21/us/politics/coronavirus-poverty.html\" target=\"_blank\" rel=\"noopener noreferrer\">12 million people\u003c/a> from sinking into poverty. Programs like Stockton’s $500-a-month \u003ca href=\"https://seed.sworps.tennessee.edu/index.html\">UBI pilot\u003c/a> may be the beginning of a national trend.\u003c/p>\n\u003cp>“It’s not just artists. There needs to be some restoration of the safety net with no questions asked,” Elliott says. “I like the idea of universal basic income. That could really go a long way to putting a floor under people.”\u003c/p>\n\u003cp>Lee says initiatives like the basic income program, along with freeing up other SFAC funds towards general operating expenses, are “very big” for city government. And while the enthusiasm for large-scale change is there (the task force came down in favor of health care and internet for all, and student and consumer debt relief, among other progressive proposals), the real test will be funding these initiatives in the long term—or more likely, convincing the state or federal government to do so.\u003c/p>\n\u003cp>As Poppiti says, “Long-lasting change will be the systems-level change.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"What the pandemic has made clear is the total lack of a safety net for anyone without a full-time job and benefits.","status":"publish","parent":0,"modified":1705019737,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":45,"wordCount":2841},"headData":{"title":"It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs | KQED","description":"What the pandemic has made clear is the total lack of a safety net for anyone without a full-time job and benefits.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890207/it-shouldnt-take-an-emergency-to-fund-artists-basic-needs","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In March, as soon as shelter-in-place orders set in and businesses closed, the lists were \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">everywhere\u003c/a>: emergency funds for freelancers and creatives, grants divvied up by discipline and region, mutual aid efforts so grassroots they only included a Venmo handle. Navigating these offers of support took time and energy, but for those who received funds, they provided small moments of relief in an otherwise bleak year.\u003c/p>\n\u003cp>San Francisco musician \u003ca href=\"https://www.thehereafterishere.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a>, who was scheduled to set off on a multi-state tour by bike and train this year, has received two emergency grants during the coronavirus pandemic: $1,000 from the California Relief Fund for Artists and Cultural Practitioners and $2,000 from the Hardly Strictly Music Relief Fund. While he’s extremely grateful for that monetary support, $3,000 doesn’t go far in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890093,arts_13890048,arts_13890054","label":"What a year "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> “Basically what I did here was this was offered, I’m really grateful for it, I did the work to get it, I deposited it in my bank account and then I just transferred it to my landlord’s bank account,” he laughs. “And then I got a month.”\u003c/p>\n\u003cp>Elliott says the real saving grace this year was the fundraising he did to cover the costs of his now-delayed “Freedom Tour 2020,” celebrating the release of his newest album \u003ci>The Information Age\u003c/i>. “There are other times in my career where this could have hit and I don’t know what I would have done,” he says.\u003c/p>\n\u003cp>“I used to say, ‘Well the one thing I know is I can always show up somewhere with my guitar and make some money,’” he says. “And it’s like actually, no, you can’t!”\u003c/p>\n\u003cp>Surveys conducted by \u003ca href=\"https://www.americansforthearts.org/news-room/press-releases/10000-artists-and-creative-workers-report-widespread-job-income-loss-due-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">Americans for the Arts\u003c/a> over the past nine months show that nationally, 62% of artists have become fully unemployed because of the pandemic, and 95% have experienced income loss. In California, the financial impact is substantial, with one-third of the arts, culture and entertainment industry out of work. In an \u003ca href=\"https://www.californiansforthearts.org/statewide-arts-awareness-campaign/#Industries\" target=\"_blank\" rel=\"noopener noreferrer\">ordinary year\u003c/a>, the arts represent $650.3 billion of the state’s economy, and 15.4% of its jobs.\u003c/p>\n\u003cfigure id=\"attachment_13890357\" class=\"wp-caption aligncenter\" style=\"max-width: 2238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg\" alt=\"\" width=\"2238\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg 2238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-2048x1353.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1920x1269.jpg 1920w\" sizes=\"(max-width: 2238px) 100vw, 2238px\">\u003cfigcaption class=\"wp-caption-text\">Data from the San Francisco Bureau of Labor Statistics, September 2020. \u003ccite>(Courtesy Economic Recovery Task Force Report)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A chart in the city of San Francisco’s \u003ci>\u003ca href=\"https://www.onesanfrancisco.org/sites/default/files/inline-files/EconomicRecoveryTaskForceReport_10.08.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Task Force Report\u003c/a>\u003c/i>, published in October, shows the local artistic community’s precarious financial situation in the most plain terms. Already on the low end of the earning spectrum (an average of just over $50,000 a year), the arts, entertainment and recreation sector is second only to “accommodations and food services” in terms of pandemic job losses.\u003c/p>\n\u003cp>It’s bad. Anyone with any connections to the local artistic community knows it’s bad. The question is, what steps can we take to make sure something like this never happens again?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Emergency Grants: ‘They’re Not Even Band-Aids’\u003c/h2>\n\u003cp>The demand on the region’s COVID-19 emergency funds shows just how dire things became only days into shelter-in-place. Artists were already existing on the margins with little to no savings, but the types of jobs that allow for the flexibility to pursue artmaking were some of the first to go: art handling, bartending, events staff, public-facing museum positions.\u003c/p>\n\u003cp>Laura Poppiti, grants program director at the \u003ca href=\"https://www.cciarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Innovation\u003c/a>, which administered five local emergency relief funds in coordination with other Bay Area nonprofits, says the pandemic has made clear there are seismic cracks in our system. “What COVID has brought to light is that grants and these one-off programs, they’re not even Band-Aids,” she says. “We don’t have good or solid safety nets for artists and everyone else who shares those circumstances.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13876893","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In some of the grants Poppiti helped oversee, the available money was enough to fund only around half of their applicants. The San Francisco Arts & Artists Relief Fund supported 699 individual artists and 65 arts and culture organizations, but received 1,400 applications in total. The East Bay/Oakland Relief Fund for Individuals in the Arts awarded 515 individuals, but received around 900 applications.\u003c/p>\n\u003cp>Even instances where it might seem like need was met—by the City of San Jose Coronavirus Relief Fund and the \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Music Relief Fund\u003c/a>, which were both able to award all their applicants, 94 artists and 330 roots musicians, respectively—might not be indicative of the true breadth of the situation. The San Jose relief fund only reimbursed eligible expenses as defined by the CARES Act. And Elliott, who received a grant from the Hardly Strictly fund, noted the application process was geared towards musicians who already had an online presence and ready-to-go digital files.\u003c/p>\n\u003cp>As the \u003ci>Economic Recovery Task Force Report\u003c/i> states: “Bureaucracy is even more burdensome at a time of great need.” Multiple nonprofit administrators interviewed for this article spoke to the artistic community’s exhaustion. Not only did artists need to seek out and apply for various grants, many had to navigate filing a claim for Pandemic Unemployment Assistance (PUA), an expansion of unemployment insurance for self-employed workers and independent contractors. (PUA is set to expire on Dec. 26, a fact Poppiti calls “appalling.”)\u003c/p>\n\u003cp>“I can’t imagine the emotional labor and trauma that so many artists were going through, putting out application after application after application and getting rejections,” Poppiti says. “Demand far outweighs the resources available.”\u003c/p>\n\u003cp>And if, like Elliott, you were a recipient of a grant (or two), how does that help you a month, six months, or a year after your main source of income is gone?\u003c/p>\n\u003cfigure id=\"attachment_13890378\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890378\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Venues like the Warfield, which closed in mid-March per San Francisco city orders, won’t reopen until full-capacity indoor events are allowed once again. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alternatives Hampered by Traditional Funding\u003c/h2>\n\u003cp>While even those administering emergency grants admit they’re stop-gap measures, the alternatives are limited by the current funding landscape. Much of what’s available to both nonprofits and individual artists is project-based; funders are interested in pointing to specific exhibitions, performances or objects as the products of their generosity.\u003c/p>\n\u003cp>That approach, Poppiti says, is partly based on the “overhead myth”—that a well-performing nonprofit has low administrative and fundraising expenses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Philanthropy has rewarded arts nonprofits for underpaying their employees.’","name":"pullquote","attributes":{"named":{"size":"medium","citation":"Laura Poppiti, Center for Cultural Innovation","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Margaret McCarthy, executive director and co-director of \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Exposure\u003c/a>, which dispersed two rounds of emergency funds in lieu of their annual Alternative Exposure grant (normally project-based), says the pandemic has forced many funders to abandon this standard. With space rentals and ticket sales off the table, nonprofits losing their general operating income turned to funders to release previously restricted grants.\u003c/p>\n\u003cp>It’s a shift McCarthy says she’s been trumpeting long before shelter in place. “As organizations, we want to pay our staff an industry-competitive compensation. We have to do things like pay our rent,” she says. “Project-based support just tries to leap over the operating costs in order to produce the more glamorous projects.”\u003c/p>\n\u003cp>This isn’t about privileging arts administrators over artists, but acknowledging an organization as a whole entity, the health of which benefits the broader arts ecosystem. “These are people who should be living full lives,” Poppiti says. “Philanthropy has rewarded arts nonprofits for underpaying their employees.”\u003c/p>\n\u003cp>McCarthy puts it bluntly: “Why should it have to get to an emergency state before we fund the basic needs of organizations?”\u003c/p>\n\u003cp>Extending that line of reasoning out to individual artist grants only makes sense, says Valerie Imus, Southern Exposure’s artistic director and co-director. “It’s so beyond just trying to support artists to buy supplies,” she says. For its first round of emergency grants, Southern Exposure received 189 applications for 60 available slots. The second, restricted to only San Francisco artists, saw 125 applications for just 19 grants.\u003c/p>\n\u003cp>Like other grant administrators, Imus knows the psychological toll of sifting through artists’ statements of need and making incredibly difficult decisions about who would receive funding. In notes of thanks from recipients, they mentioned being able to buy groceries or support their extended family for another month. “The stories were just so hard to read,” she says. “It was heartbreaking to not be able to give more.”\u003c/p>\n\u003cfigure id=\"attachment_13890365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Southern Exposure being used as a polling place on Nov. 3, 2020, with an installation by Related Tactics titled ‘Never Again is Now’ on view. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While other industries have been able to reopen in stages, the arts, culture and entertainment sector can only return in full force once the region is completely reopened. Predicting ongoing need, Theatre Bay Area, in partnership with Dancers’ Group and InterMusic SF, established the \u003ca href=\"https://www.theatrebayarea.org/page/COVID-19relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Performing Arts Worker Relief Fund\u003c/a>, which distributes $500–$1,000 grants to individuals on a rolling basis. So far they’ve raised over $600,000 and funded around 700 applicants, with approximately 120 still on the waiting list and 20–30 more each month.\u003c/p>\n\u003cp>“The fact that people have to reapply … [shows] it’s not enough,” says Kimberley Cohan, TBA’s programs manager. The relief fund is an exercise in rapid response and coalition-building. Cohan says partnering with other organizations pooled their fundraising power and helped get the word out to even more applicants. Immediate financial need is still present, she says, but she’s also turning her attention to other concerns: helping artists stay in the Bay Area.\u003c/p>\n\u003ch2>Problems Grants Can’t Solve\u003c/h2>\n\u003cp>Lee Lavy, a \u003ca href=\"https://leemlavy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">visual artist\u003c/a> and musician who was working as an art handler at the beginning of the year, decided to leave San Francisco with his partner Kelli Wong just before shelter in place took effect. Facing no work and confinement within a tiny apartment, the couple opted instead for Bitterroot Valley, Montana, where Lavy grew up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"The pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Until the virus hit, we had no intention of leaving San Francisco,” says Lavy, who graduated from UC Berkeley’s MFA program in 2015. In fact, the two returned and resumed work when restrictions lifted somewhat in the summer. But two months later they lost their apartment, a rent-controlled spot Lavy describes as the only reason they were able to live in San Francisco in the first place.\u003c/p>\n\u003cp>Now they’re two of the many artists who have left the Bay Area for good, a decision Lavy notes is only possible because of family support and the couple’s financial ability to move.\u003c/p>\n\u003cp>The frequency of such departures is hard to quantify; we no longer have regular gatherings at which to mark sudden absences. Months from now, when we can once again rub elbows during events, the pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.\u003c/p>\n\u003cfigure id=\"attachment_13880814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/download.jpeg\" alt=\"\" width=\"1280\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-800x618.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-768x593.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-1020x788.jpeg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Okona (top right) and her art critique group on Zoom. \u003ccite>(Chinwe Okona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who have managed to stay, financial difficulties are just one facet of maintaining a creative practice during the pandemic. \u003ca href=\"https://theintersection.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Intersection for the Arts\u003c/a>, a San Francisco nonprofit that offers fiscal sponsorship and professional development to artists, began holding virtual “Coaching Circles” in April. Amy Kweskin, director of professional development, says the weekly conversations followed a fairly clear path through the stages of grief.\u003c/p>\n\u003cp>“Navigating the loss of live, in-person—that’s what they mourned—‘I can’t be on a stage reacting to the energy of the theater, I’m behind this anonymous flat screen,’” Kweskin says. “So we spent a lot of time in those coaching sessions figuring out how do you still get those emotions, how do you get that feedback.”\u003c/p>\n\u003cp>“Especially in the arts, where collaboration is so important, artists and arts workers are not having opportunities to connect,” says Izzy Parlamis, Intersection’s communications director. “The circles allowed for a space to gather and speak.”\u003c/p>\n\u003cp>Just as emergency grants won’t guarantee an artist’s financial stability in the long run, support systems cannot ignore the nonmonetary pressures on the local arts community, which this year included renewed calls for racial justice and the largest fires in the California’s recent history. 2020 demonstrated the need to serve artists as whole people, not just as producers of projects or owners of dwindling bank accounts.\u003c/p>\n\u003ch2>Looking Ahead to 2021\u003c/h2>\n\u003cp>In order to create a Bay Area where artists have any hope of sticking around, let alone meaningfully pursuing their crafts, we need to radically rethink both funding protocols and the types of nonmonetary support offered to artists.\u003c/p>\n\u003cp>Some of the most immediate shifts are coming from the city of San Francisco, signaled within the \u003ci>Economic Recovery Task Force Report\u003c/i>, which identifies the survival of the city’s arts, culture and entertainment sectors as necessary to its economic recovery as a whole. And the report’s already yielded a tangible result: Mayor London Breed announced a pilot program in early October to provide 130 artists with $1,000 a month for at least six months.\u003c/p>\n\u003cfigure id=\"attachment_13880309\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg\" alt=\"Yerba Buena Center for the Arts' Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021.\" width=\"1500\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-1020x574.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts’ Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021. \u003ccite>(Courtesy Yerba Buena Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanne Lee, the deputy director of programs for the San Francisco Arts Commission (SFAC), says the pilot program is “a way to provide a steady consistent stream of income that is nonrestrictive and builds on trust and choice for what artists need.”\u003c/p>\n\u003cp>Yerba Buena Center for the Arts (YBCA) will receive a $870,000 grant to administer the basic income program, along with $250,000 to operate an “Arts Hub” (an expansion on the organization’s \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>) of resources and support services for artists. Funding for both comes from a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">allocation\u003c/a> of the Arts Impact Endowment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘There needs to be some restoration of the safety net with no questions asked.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"John Elliott, San Francisco musician","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>YBCA’s CEO Deborah Cullinan says ideally the basic income program will last much longer than six months, so they can more deeply study how it will impact artists’ lives. Applications will be open to individual artists, with the first month’s funds disbursed by March 2021. The program will prioritize those who had little to no safety net even before the pandemic: BIPOC artists, LGBTQ+ artists and artists with disabilities.\u003c/p>\n\u003cp>Cullinan sees the Artist Power Center and the basic income pilot program as part of an encompassing plan to develop the capacity of artists who are driving social change. “It has to be that you’re addressing the whole person,” she says. “It can’t be what we’ve done over these many years, which is this kind of transactional grantmaking.”\u003c/p>\n\u003cp>UBI is gaining traction nationally, thanks in part to Andrew Yang’s presidential campaign, as well as evidence that the direct cash provided through the CARES Act prevented an estimated \u003ca href=\"https://www.nytimes.com/2020/06/21/us/politics/coronavirus-poverty.html\" target=\"_blank\" rel=\"noopener noreferrer\">12 million people\u003c/a> from sinking into poverty. Programs like Stockton’s $500-a-month \u003ca href=\"https://seed.sworps.tennessee.edu/index.html\">UBI pilot\u003c/a> may be the beginning of a national trend.\u003c/p>\n\u003cp>“It’s not just artists. There needs to be some restoration of the safety net with no questions asked,” Elliott says. “I like the idea of universal basic income. That could really go a long way to putting a floor under people.”\u003c/p>\n\u003cp>Lee says initiatives like the basic income program, along with freeing up other SFAC funds towards general operating expenses, are “very big” for city government. And while the enthusiasm for large-scale change is there (the task force came down in favor of health care and internet for all, and student and consumer debt relief, among other progressive proposals), the real test will be funding these initiatives in the long term—or more likely, convincing the state or federal government to do so.\u003c/p>\n\u003cp>As Poppiti says, “Long-lasting change will be the systems-level change.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890207/it-shouldnt-take-an-emergency-to-fund-artists-basic-needs","authors":["61"],"categories":["arts_1"],"tags":["arts_12958","arts_10342","arts_10278","arts_2887","arts_1072","arts_10648","arts_1955"],"featImg":"arts_13890402","label":"source_arts_13890207"},"arts_13880296":{"type":"posts","id":"arts_13880296","meta":{"index":"posts_1591205157","site":"arts","id":"13880296","score":null,"sort":[1589390451000]},"guestAuthors":[],"slug":"ybca-launches-artist-power-center-resource-for-financially-struggling-artists","title":"YBCA Launches ‘Artist Power Center’ Resource for Financially Struggling Artists","publishDate":1589390451,"format":"standard","headTitle":"YBCA Launches ‘Artist Power Center’ Resource for Financially Struggling Artists | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Yerba Buena Center for the Arts on Tuesday launched \u003ca href=\"https://ybca.org/artist-power-center/\">Artist Power Center\u003c/a>, a web and hotline resource for artists affected by the novel coronavirus to access relief funds and peer support.\u003c/p>\n\u003cp>The national resource, supported by San Francisco software company Zendesk, relies on YBCA staff to alert artists to grants and other economic relief opportunities and provide personalized guidance. As Deborah Cullinan, YBCA’s chief executive, described the service in an interview: “As soon as we learn of something that can help you or move you forward you’re going to hear about it.” The site also includes a forum for artists to share resources amongst themselves.\u003c/p>\n\u003cp>Ninety-five percent of artists in the United States have lost income due to the COVID-19 pandemic, according to Americans for the Arts. In response, a growing number of relief funds have emerged. Yet confusing eligibility requirements and application processes pose barriers to accessing the aid, and demand is so great that most funds are depleted in days. Such hurdles threaten to restrict help to artists fluent in nonprofit argot who can monitor the web nonstop. [aside postID=arts_13876893,arts_13877348,arts_13878711]\u003c/p>\n\u003cp>Enter the Artist Power Center. YBCA, one of few major local cultural organizations to avoid staff layoffs, has committed four workers to researching opportunities and ten to provide call and text support in Spanish and English during business hours Monday–Friday. The project is funded for at least the next six months, and Cullinan hopes it will remain a useful resource after the pandemic, especially as the forum section attracts and fosters more interaction between artists.\u003c/p>\n\u003cp>YBCA has taken a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">strong\u003c/a> role in San Francisco arts advocacy, and the Power Center grows out of its own recent emergency grant initiative. Collaborating with Zoo Labs, Always Win Together and the Black Joy Parade, YBCA last month expended a $130,000 \u003ca href=\"https://www.artistsnow.us/\">fund\u003c/a> for artists who identify as women, people of color and LQBTQIA+ in a few days. “People were grateful it was easy,” Cullinan said. “So this is a quick response to help people navigate relief funds nationwide.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland curator \u003ca href=\"https://www.asharaekundayogallery.com/\">Ashara Ekundayo\u003c/a>, who worked as a consultant on the resource, said the Power Center has the potential to help mitigate the economic as well as emotional toll of the pandemic on artists. “Artists and culture workers are deeply impacted by shelter in place, and applying for grants can be a huge psychic and emotional toll,” she said. Ekundayo said she personally sought several grants unsuccessfully, acquainting her with “application anxiety.”\u003c/p>\n\u003cp>That’s one of the initial topics in the forum section, alongside “Arts Education,” “Our Well-Being” and “Word Power.” The approach is holistic, said Lucia Momoh, a Berkeley Art Museum and Pacific Film Archive curator who participated in a Power Center focus group. “It can be a resource not just for funding but the challenges that surface when you’re looking for funding.” The section currently features initial contributions by Angela Wellman and Emanuel Brown. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.samvernon.com/\">Sam Vernon\u003c/a>, an artist and California College of the Arts professor who also gave feedback on the project, believes the Power Center can reinforce mutual-aid efforts that have arisen among artists. “On social media the information comes in and out of view really quickly,” she said. “This aggregates the information with a friendly user experience.” The forum and hotline services, Vernon added, can help pierce the jargon that often stands between funders and artists. “Sometimes the person you need to talk to is just another artist who’s had the same questions.”\u003c/p>\n\n","blocks":[],"excerpt":"The web and hotline resource provides artists with personalized guidance for accessing relief funds.","status":"publish","parent":0,"modified":1705020755,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":618},"headData":{"title":"YBCA Launches ‘Artist Power Center’ Resource for Financially Struggling Artists | KQED","description":"The web and hotline resource provides artists with personalized guidance for accessing relief funds.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yerba Buena Center for the Arts on Tuesday launched \u003ca href=\"https://ybca.org/artist-power-center/\">Artist Power Center\u003c/a>, a web and hotline resource for artists affected by the novel coronavirus to access relief funds and peer support.\u003c/p>\n\u003cp>The national resource, supported by San Francisco software company Zendesk, relies on YBCA staff to alert artists to grants and other economic relief opportunities and provide personalized guidance. As Deborah Cullinan, YBCA’s chief executive, described the service in an interview: “As soon as we learn of something that can help you or move you forward you’re going to hear about it.” The site also includes a forum for artists to share resources amongst themselves.\u003c/p>\n\u003cp>Ninety-five percent of artists in the United States have lost income due to the COVID-19 pandemic, according to Americans for the Arts. In response, a growing number of relief funds have emerged. Yet confusing eligibility requirements and application processes pose barriers to accessing the aid, and demand is so great that most funds are depleted in days. Such hurdles threaten to restrict help to artists fluent in nonprofit argot who can monitor the web nonstop. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13876893,arts_13877348,arts_13878711","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter the Artist Power Center. YBCA, one of few major local cultural organizations to avoid staff layoffs, has committed four workers to researching opportunities and ten to provide call and text support in Spanish and English during business hours Monday–Friday. The project is funded for at least the next six months, and Cullinan hopes it will remain a useful resource after the pandemic, especially as the forum section attracts and fosters more interaction between artists.\u003c/p>\n\u003cp>YBCA has taken a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">strong\u003c/a> role in San Francisco arts advocacy, and the Power Center grows out of its own recent emergency grant initiative. Collaborating with Zoo Labs, Always Win Together and the Black Joy Parade, YBCA last month expended a $130,000 \u003ca href=\"https://www.artistsnow.us/\">fund\u003c/a> for artists who identify as women, people of color and LQBTQIA+ in a few days. “People were grateful it was easy,” Cullinan said. “So this is a quick response to help people navigate relief funds nationwide.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland curator \u003ca href=\"https://www.asharaekundayogallery.com/\">Ashara Ekundayo\u003c/a>, who worked as a consultant on the resource, said the Power Center has the potential to help mitigate the economic as well as emotional toll of the pandemic on artists. “Artists and culture workers are deeply impacted by shelter in place, and applying for grants can be a huge psychic and emotional toll,” she said. Ekundayo said she personally sought several grants unsuccessfully, acquainting her with “application anxiety.”\u003c/p>\n\u003cp>That’s one of the initial topics in the forum section, alongside “Arts Education,” “Our Well-Being” and “Word Power.” The approach is holistic, said Lucia Momoh, a Berkeley Art Museum and Pacific Film Archive curator who participated in a Power Center focus group. “It can be a resource not just for funding but the challenges that surface when you’re looking for funding.” The section currently features initial contributions by Angela Wellman and Emanuel Brown. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.samvernon.com/\">Sam Vernon\u003c/a>, an artist and California College of the Arts professor who also gave feedback on the project, believes the Power Center can reinforce mutual-aid efforts that have arisen among artists. “On social media the information comes in and out of view really quickly,” she said. “This aggregates the information with a friendly user experience.” The forum and hotline services, Vernon added, can help pierce the jargon that often stands between funders and artists. “Sometimes the person you need to talk to is just another artist who’s had the same questions.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists","authors":["11091"],"categories":["arts_1","arts_235"],"tags":["arts_10126","arts_10278","arts_3649","arts_10785","arts_746","arts_596","arts_1040","arts_1955"],"featImg":"arts_13880309","label":"arts"},"arts_13877348":{"type":"posts","id":"arts_13877348","meta":{"index":"posts_1591205157","site":"arts","id":"13877348","score":null,"sort":[1585071453000]},"guestAuthors":[],"slug":"survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis","title":"Survey: SF Arts Groups Expect $73 Million in Losses During Coronavirus Crisis","publishDate":1585071453,"format":"standard","headTitle":"Survey: SF Arts Groups Expect $73 Million in Losses During Coronavirus Crisis | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. [aside postid='science_1957877']\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(Photo courtesy of San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"In the art world, contractors have been first to miss expected paychecks, while staff layoffs are rampant.","status":"publish","parent":0,"modified":1705021027,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1000},"headData":{"title":"Survey: SF Arts Groups Expect $73 Million in Losses During Coronavirus Crisis | KQED","description":"In the art world, contractors have been first to miss expected paychecks, while staff layoffs are rampant.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More Coverage ","tag":"coronavirus"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"science_1957877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(Photo courtesy of San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis","authors":["11091"],"categories":["arts_966","arts_69","arts_235","arts_967","arts_70"],"tags":["arts_3560","arts_1018","arts_11014","arts_10278","arts_10422","arts_1766","arts_746","arts_596","arts_1381","arts_2207","arts_1955"],"featImg":"arts_13876911","label":"arts"},"arts_13849254":{"type":"posts","id":"arts_13849254","meta":{"index":"posts_1591205157","site":"arts","id":"13849254","score":null,"sort":[1548276264000]},"guestAuthors":[],"slug":"with-quantopia-dj-spooky-ponders-the-evolution-of-the-internet","title":"With 'Quantopia,' DJ Spooky Ponders the Evolution of the Internet","publishDate":1548276264,"format":"standard","headTitle":"With ‘Quantopia,’ DJ Spooky Ponders the Evolution of the Internet | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There’s an old saying in music journalism that writing about music is like dancing about architecture. Perhaps even harder to pull off is a symphonic composition about the evolution of the internet—which is what \u003ca href=\"http://djspooky.com/\" target=\"_blank\" rel=\"noopener\">DJ Spooky\u003c/a> endeavors to do with \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">\u003cem>Quantopia\u003c/em>\u003c/a>, a new piece premiering at Yerba Buena Center for the Arts on Jan. 25.\u003c/p>\n\u003cp>“The basic premise is that we live in a data-driven society, and most of us use our phones, tablets, laptops, monitors as portals into the web,” says DJ Spooky, whose real name is Paul D. Miller. “Music is about patterns and so is the way we interact with the internet. We have patters in everyday life; we have patterns of data that algorithmically drive our tastes and styles. So I thought it would be cool, instead of doing a dry analysis, to do a lyrical approach to pattern recognition.”\u003c/p>\n\u003cp>\u003cem>Quantopia\u003c/em>, an incredibly eclectic work, combines elements as disparate as dial-up modem noises (remember those?), electronic beats and chamber music. Spooky collaborated on the hour-long work with the Internet Archive and data artist Greg Niemeyer, who created visual projections for the performance. String ensemble Classical Revolution and the San Francisco Girls Chorus will join DJ Spooky on stage at YBCA.\u003c/p>\n\u003cp>At the heart of \u003cem>Quantopia\u003c/em> is the idea that the internet is a democratic place for sharing information. \u003ca href=\"http://www.un.org/en/universal-declaration-human-rights/\" target=\"_blank\" rel=\"noopener\">The Universal Declaration of Human Rights\u003c/a>, which posits that everyone has the right to seek and impart information, was a major source of inspiration for DJ Spooky.\u003c/p>\n\u003cp>In our conversation, DJ Spooky mentions how the first message sent over the internet was from UCLA to Stanford, and how its academic background informs its utopian spirit as a place to connect and imagine new worlds. “It was made as this open source, educational space,” he says. “Had it been made at some corporate lab, you probably would’ve had a different internet as we know it.”\u003c/p>\n\u003cp>\u003cem>Quantopia premieres Jan. 25 at Yerba Buena Center for the Arts. Details \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/S7ZVQQOdAYg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The multimedia performance takes place on Jan. 25 at Yerba Buena Center for the Arts. ","status":"publish","parent":0,"modified":1705026711,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":353},"headData":{"title":"With 'Quantopia,' DJ Spooky Ponders the Evolution of the Internet | KQED","description":"The multimedia performance takes place on Jan. 25 at Yerba Buena Center for the Arts. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13849254/with-quantopia-dj-spooky-ponders-the-evolution-of-the-internet","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an old saying in music journalism that writing about music is like dancing about architecture. Perhaps even harder to pull off is a symphonic composition about the evolution of the internet—which is what \u003ca href=\"http://djspooky.com/\" target=\"_blank\" rel=\"noopener\">DJ Spooky\u003c/a> endeavors to do with \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">\u003cem>Quantopia\u003c/em>\u003c/a>, a new piece premiering at Yerba Buena Center for the Arts on Jan. 25.\u003c/p>\n\u003cp>“The basic premise is that we live in a data-driven society, and most of us use our phones, tablets, laptops, monitors as portals into the web,” says DJ Spooky, whose real name is Paul D. Miller. “Music is about patterns and so is the way we interact with the internet. We have patters in everyday life; we have patterns of data that algorithmically drive our tastes and styles. So I thought it would be cool, instead of doing a dry analysis, to do a lyrical approach to pattern recognition.”\u003c/p>\n\u003cp>\u003cem>Quantopia\u003c/em>, an incredibly eclectic work, combines elements as disparate as dial-up modem noises (remember those?), electronic beats and chamber music. Spooky collaborated on the hour-long work with the Internet Archive and data artist Greg Niemeyer, who created visual projections for the performance. String ensemble Classical Revolution and the San Francisco Girls Chorus will join DJ Spooky on stage at YBCA.\u003c/p>\n\u003cp>At the heart of \u003cem>Quantopia\u003c/em> is the idea that the internet is a democratic place for sharing information. \u003ca href=\"http://www.un.org/en/universal-declaration-human-rights/\" target=\"_blank\" rel=\"noopener\">The Universal Declaration of Human Rights\u003c/a>, which posits that everyone has the right to seek and impart information, was a major source of inspiration for DJ Spooky.\u003c/p>\n\u003cp>In our conversation, DJ Spooky mentions how the first message sent over the internet was from UCLA to Stanford, and how its academic background informs its utopian spirit as a place to connect and imagine new worlds. “It was made as this open source, educational space,” he says. “Had it been made at some corporate lab, you probably would’ve had a different internet as we know it.”\u003c/p>\n\u003cp>\u003cem>Quantopia premieres Jan. 25 at Yerba Buena Center for the Arts. Details \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S7ZVQQOdAYg'\n title='//www.youtube.com/embed/S7ZVQQOdAYg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13849254/with-quantopia-dj-spooky-ponders-the-evolution-of-the-internet","authors":["11387"],"programs":["arts_140"],"categories":["arts_71","arts_69"],"tags":["arts_4140","arts_1955"],"featImg":"arts_13849272","label":"arts_140"},"arts_13836799":{"type":"posts","id":"arts_13836799","meta":{"index":"posts_1591205157","site":"arts","id":"13836799","score":null,"sort":[1531251602000]},"guestAuthors":[],"slug":"janet-mock-steve-kerr-rafael-casal-and-more-on-this-years-ybca-100-list","title":"Janet Mock, Steve Kerr, Rafael Casal and More On This Year's YBCA 100","publishDate":1531251602,"format":"image","headTitle":"Janet Mock, Steve Kerr, Rafael Casal and More On This Year’s YBCA 100 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Think of the \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA 100\u003c/a> as the Yerba Buena Center for the Arts’ more grassroots alternative to \u003cem>TIME\u003c/em>‘s list of the 100 most influential people on earth. While celebrities like Cardi B, Meghan Markle and Virgil Abloh grace the \u003ca href=\"http://time.com/collection/most-influential-people-2018/\" target=\"_blank\" rel=\"noopener\">\u003cem>TIME\u003c/em> 100\u003c/a> alongside mainstream politicians and high-profile artists, this year’s edition of the YBCA 100 features a mix of local and national changemakers and organizations working in arts and social justice.\u003c/p>\n\u003cp>https://youtu.be/WFADD7kC-lE\u003c/p>\n\u003cp>Honorees include Janet Mock, the best-selling author and activist who recently made her directorial debut on FX’s hit show \u003cem>Pose\u003c/em>; Steve Kerr, the Warriors’ head coach who regularly voices his opinion on national politics; photographer \u003ca href=\"https://www.kqed.org/arts/11508333/women-to-watch-brittani-sensabaugh-brittsense\" target=\"_blank\" rel=\"noopener\">Brittsense\u003c/a>, whose colorful images celebrate working-class African-American communities; Chicago-based rapper NoName, who makes poetry out of ineffable truths about gun violence; and Rafael Casal, an MC, educator and co-star of Daveed Diggs’ new film, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13808582/daveed-diggs-is-working-on-a-buddy-comedy-about-oakland-gentrification\" target=\"_blank\" rel=\"noopener\">Blindspotting\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are also some unexpected faces: Ashley Sinn, the founder of the volunteer organization Small Hands with Helping Hearts, is YBCA’s youngest honoree at just nine years old. Along with individuals, the YBCA 100 also spotlights nonprofits and social movements, which this year include the “me too” movement; student activists from Marjorie Stoneman High School in Parkland, Florida; Red Bay Coffee, a local cafe that hosts social justice-focused events and employs formerly incarcerated people; and the Oakland organization Lesbians Who Tech.\u003c/p>\n\u003cp>More information about the honorees can be found at \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA’s website\u003c/a>. Many of them will be presenting at the \u003ca href=\"https://ybca.org/ybca-100-2018-summit\" target=\"_blank\" rel=\"noopener\">YBCA 100 summit\u003c/a> on Saturday, Nov. 3.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The list features cultural movers-and-shakers and social justice changemakers from the Bay Area and beyond. ","status":"publish","parent":0,"modified":1705027510,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":277},"headData":{"title":"Janet Mock, Steve Kerr, Rafael Casal and More On This Year's YBCA 100 | KQED","description":"The list features cultural movers-and-shakers and social justice changemakers from the Bay Area and beyond. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13836799/janet-mock-steve-kerr-rafael-casal-and-more-on-this-years-ybca-100-list","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of the \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA 100\u003c/a> as the Yerba Buena Center for the Arts’ more grassroots alternative to \u003cem>TIME\u003c/em>‘s list of the 100 most influential people on earth. While celebrities like Cardi B, Meghan Markle and Virgil Abloh grace the \u003ca href=\"http://time.com/collection/most-influential-people-2018/\" target=\"_blank\" rel=\"noopener\">\u003cem>TIME\u003c/em> 100\u003c/a> alongside mainstream politicians and high-profile artists, this year’s edition of the YBCA 100 features a mix of local and national changemakers and organizations working in arts and social justice.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WFADD7kC-lE'\n title='//www.youtube.com/embed/WFADD7kC-lE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Honorees include Janet Mock, the best-selling author and activist who recently made her directorial debut on FX’s hit show \u003cem>Pose\u003c/em>; Steve Kerr, the Warriors’ head coach who regularly voices his opinion on national politics; photographer \u003ca href=\"https://www.kqed.org/arts/11508333/women-to-watch-brittani-sensabaugh-brittsense\" target=\"_blank\" rel=\"noopener\">Brittsense\u003c/a>, whose colorful images celebrate working-class African-American communities; Chicago-based rapper NoName, who makes poetry out of ineffable truths about gun violence; and Rafael Casal, an MC, educator and co-star of Daveed Diggs’ new film, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13808582/daveed-diggs-is-working-on-a-buddy-comedy-about-oakland-gentrification\" target=\"_blank\" rel=\"noopener\">Blindspotting\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are also some unexpected faces: Ashley Sinn, the founder of the volunteer organization Small Hands with Helping Hearts, is YBCA’s youngest honoree at just nine years old. Along with individuals, the YBCA 100 also spotlights nonprofits and social movements, which this year include the “me too” movement; student activists from Marjorie Stoneman High School in Parkland, Florida; Red Bay Coffee, a local cafe that hosts social justice-focused events and employs formerly incarcerated people; and the Oakland organization Lesbians Who Tech.\u003c/p>\n\u003cp>More information about the honorees can be found at \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA’s website\u003c/a>. Many of them will be presenting at the \u003ca href=\"https://ybca.org/ybca-100-2018-summit\" target=\"_blank\" rel=\"noopener\">YBCA 100 summit\u003c/a> on Saturday, Nov. 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13836799/janet-mock-steve-kerr-rafael-casal-and-more-on-this-years-ybca-100-list","authors":["11387"],"categories":["arts_1","arts_835"],"tags":["arts_1118","arts_1962","arts_3226","arts_3532","arts_596","arts_1040","arts_1955"],"featImg":"arts_13836832","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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