Rolling deadline through December 28, 2015
The Exploring Engagement Fund is seeking arts organizations with innovative ideas and a readiness to take bold steps that will engage new and diverse populations.
It supports experiments with engagement approaches that may be untried and unfamiliar, and profiles new projects that engage Californians in the arts. It has a rolling deadline through December 28, 2015.
We are looking for new approaches to arts engagement using the "Who, How, Where" pathways. Exploring Engagement Fund projects should explore at least two of the three engagement pathways. The proposed project can be completely new or an experiment that takes a different approach with an existing project or practice. The project should aim to engage new and diverse populations by adding active participation opportunities for participants and/or incorporating the use of nontraditional arts spaces.
We aim to increase engagement by low-income or ethnically diverse populations that have been historically underserved by arts nonprofits.
We aim to expand the ways Californians engage in the arts as active participants, by making or practicing art. This could include the use of digital technology to produce or curate art.
We aim to expand the use of diverse, nontraditional spaces for arts engagement, especially in regions with few arts-specific venues.
The Exploring Engagement Fund employs a competitive selection process. Any eligible organizations are welcome to apply. We anticipate funding 10 to 20 percent of the applications we receive. We will only fund organizations that meet two basic criteria: (1) California-based nonprofit arts organizations, and (2) with annual operating expenses of at least $100,000. The fund will provide one-time project support and will not provide ongoing support beyond the initial experiment. The fund is also not intended to support the core operations or ongoing programming of an organization.
We will likely receive many applications that meet these basic criteria, but will only be able to fund the strongest proposals. Please review the criteria below to understand what will make your application competitive.
The Exploring Engagement Fund Initial Application Instructions provide details about the eligibility requirements and selection criteria for the Fund, including what we are looking for in a strong application.
Exploring Engagement Fund projects can take place over a one- or two-year period. If your organization budget size by annual operating expenses is between $100,000 and $5 million, you may apply for up to 10 percent of annual operating expenses, with a maximum request amount of $125,000 per year. If your annual operating expenses are more than $5 million, you may request up to $250,000 per year.
As Exploring Engagement Fund projects are experimental in nature, we ask grantees to collect participant information to help establish how all of these experiments played out. Tracking the demographics of your project participants may involve generating new metrics and processes beyond your usual efforts, and informed estimates are acceptable. We recommend that you plan and budget for the data collection necessary to understand who participates in your experiments. This user-friendly toolkit outlines key steps as the essential elements of information-gathering efforts.
We have consolidated the three previously separate Exploring Engagement Funds (statewide, large organizations, and priority regions) into one unified fund. However, we continue to give preference to applicants based in the Foundation's geographic priority areas: the San Joaquin Valley (Fresno, Kern, Kings, Madera, Merced, San Joaquin, Stanislaus, and Tulare counties) and Riverside and San Bernardino counties. We are also interested in projects from organizations based in other regions of California that want to work in and partner with communities in these priority regions.
The fund does not support children and youth-focused projects (aged 0-17), including in-school, after-school, or out-of-school arts education programs. Projects that target families (i.e., not primarily for children and rigorously designed for intergenerational arts engagement) may be appropriate for support.
If we request a full proposal from your organization, you should anticipate at least three additional steps:
Additional details will be provided if the Foundation requests a full proposal from your organization.
We are experimenting with a rolling submission process for this fund. We hope a rolling deadline provides organizations with more flexibility in project planning and application submission timing. We will accept Initial Applications at any time beginning now through December 28, 2015, with a limit of two applications during this time period from any one organization. If your organization's first Initial Application is declined, you may choose to submit one additional Initial Application for funding in 2015. However, organizations must wait to receive a response on their first Initial Application before submitting a second application.
We will respond via email within approximately two months of the initial application submission to request a full proposal or to decline your application. The total estimated time between initial application submission and a final funding decision is up to six months. We hope to begin reducing this waiting period as we continue to improve our new rolling submission process. Organizations should plan their project start times and timelines accordingly. We cannot fund projects retroactively and will only support project activities and expenses that occur within the stated grant period.
Please note: We revised the Exploring Engagement Fund initial application form and instructions in July 2015 based on what we learned from earlier applications. If your organization has already begun completing a previously downloaded application form, please proceed with that application. There is no need for you to start over as we will continue to accept previously downloaded applications. If your organization is just starting the application process, please download the updated application form and instructions.
During the initial application phase, we welcome your questions about the process, including questions about eligibility and technical issues. Because we anticipate receiving a large volume of applications, please understand that we cannot provide feedback on ideas for projects, nor will we be able to provide feedback on declined applications.
If you have questions, please first review the Exploring Engagement Fund FAQ below. For additional questions related to eligibility or technical issues with your application, please contact us at 415-356-9931 or email@example.com.
Review this four-step process before beginning to prepare your application: (1) Confirm eligibility. (2) Review the criteria. (3) Download and complete the initial application form and budget. (4) Create an online account and submit.
We only accept Exploring Engagement Fund applications through this form, so that we can conduct an efficient and fair review of the many applications we anticipate receiving. Download the 4-page form and save as a PDF on your desktop. Complete and submit the form via the online portal.
This report, drawn from an assessment by independent consulting firm Harder+Company Community Research in close partnership with consultant Diane Espaldon, distills lessons from the early implementation of Exploring Engagement Fund projects. It offers seven lessons, as well as practical tips that can benefit arts organizations working to engage new and diverse participants.
To help nonprofits understand the variety of Californians engaged in arts experiences, the Capturing Information on Arts Participants toolkit outlines five key steps. Each is defined and supported with practical information; together these steps form a framework for planning and implementing information-gathering techniques.
Exploring Engagement Fund Grantees Offer Advice From the Field
Since 2012, the Exploring Engagement Fund has supported over 100 projects that experiment with innovative approaches to engage new and diverse Californians in the arts. As part of our ongoing interest to share what our grantees have learned, we gathered feedback about how they are finding ways to engage new and diverse populations.
Given all this rich information, we created a tool to share highlights with the field. The advice below comes directly from Exploring Engagement Fund grantees, and is sorted by themes from our Emerging Lessons and Implications report that offers seven lessons and practical tips that can benefit arts organizations.
We’d also like to hear your advice for organizations seeking to engage new and diverse audiences and participants in the arts. Please feel free to use the comments section at the bottom of this blog or to share your tips on Twitter or Facebook using #EEFtip.
Be realistic about what can be accomplished with unprecedented projects and build in time to do some of ground/prep work in addition to implementation, as well as contingency planning and funds for the inevitable challenges that are unanticipated (i.e., community connections, marketing). Have a longer time period in each place/community and also more preparation time in all locations. It is hard whenever doing a grant proposal since you want to do something unique. Do not be too ambitions but be sure to build in the time and budget.Los Angeles County Museum of Art
Not surprisingly, initial forays into building stronger relationships – even with longtime community partners – was met with skepticism, hesitation, and distrust. This was further amplified with community groups who expressed anger that we were out of touch with the community and “hadn’t been around.” We learned some valuable lessons. In particular, we learned to take the process slowly and approach each conversation as an opportunity to get to know one another rather than to have an agenda that is too specific. This approach allows relationships to develop naturally over several meetings.Oakland Museum of California
It takes time to develop a rapport, trust, and an understanding of the people you’re trying to serve.Counterpulse
In every neighborhood there are so many different people and organizations. It is important to do your homework and see what art opportunities are already happening there and see how your work can connect with some existing event and activities and agreed upon needs. Connect to it a bigger community priority or issue.LA Commons
What’s important about all these programs that we administer is that we always have to keep reminding ourselves that no two groups are the same and the outcomes will be different from one place to the other and it might just be a little different than the other.California Indian Basketweavers Association
How much time every step would take was more than we had figured. Working with different venues, playing phone tag, every aspect of it took more time.Center for the Study of Political Graphics
Talk to the artists and other groups/organizations who have done this kind of work before to hear how they did it. Open your mind to other options and see what fits for you. What resources do you have that are comparable? Set the limits and needs. It will help prevent you from accidentally overlooking additional overhead expenses.Other Minds
Give the people some control over the project. Take suggestions and ideas from people – be open. It helps with developing buy-in and lets them feel like stakeholders. Don’t do it at them but with them. Then it unfolds as you go.24th Street Theatre
Our performances were paired with existing holiday events on sites. These events also included free meals for residents, which encouraged attendance and allowed staff and artists to “break bread” with residents. Residents were given a chance to get to know staff and artists in a familiar context that allowed for trust building. These opportunities for direct contact with residents have also been very moving and meaningful for staff. The staff feels invested in and rewarded by the engagement work.Counterpulse
Community Engagement is key. Project members bring food and share with each other during rehearsals and performances. It is communion and community, intimate and personal. Those who are unable financially to donate to the cause can instead contribute by bringing food or helping to make performer costumes. These contributions display their ownership and commitment to the project. By investing real time into this project, each individual feels that they are a fundamental part of a larger collaborative effort.Los Angeles Opera
We immediately recognized that we needed to collect baseline information about neighborhoods instead of using census data to determine needs, issues, and identity. As a result, we worked with a consultant to develop a series of “snapshots” of each community through digital ethnographies and community conversations. We were interested in learning about these neighborhoods beyond the typical demographic information and delving deeply into community needs, challenges, assets, and values.Oakland Museum of California
You can’t go in with an agenda. You have to meet the participants on honest terms. It’s a lot of listening and reacting to what you’re hearing or what you’re sensing from them. A lot is unspoken. We’re asking them to step outside of their comfort zone to join us in a crazy endeavor that is normal to us but to them is other-worldly. So we tried to bridge that by doing something other worldly for us, like going to a 6am Rotary meeting, to show “we care as much about the world you live in as we're asking you to care about the world we live in.”Shakespeare San Francisco
It has taken time to teach us how to be a collaborator. It’s easy to say “we’re going to collaborate” but it has taken time to learn how to truly teach skills and let things evolve the way that each individual participates. Whatever skill level they’re bringing to it, to bring everybody along. That is definitely something that occurred over time.University of the Pacific
We discovered that our partners have different degrees of readiness for partnering on an arts-centered project. Some are willing to dive in, inviting us almost immediately to program engagement activities with their constituents; others are more hesitant, unsure of what the next steps might be and taking some time to offer access to their members. We have encountered both of these responses. However, we have built trust and understanding in most of these newer relationships, moving to the next stage of our work together.Yerba Buena Center for the Arts
Our intention of forming such an advisory panel was to create a situation in which the members, in time, would take “ownership” of the project and hopefully increase their commitment to making sure the concert would be a success. This “spirit of ownership” concept has definitely taken place and is reflected in individual members assuming responsibility for such tasks as venue selection, event promotion, obtaining participant survey incentives, acquiring public sanitation accommodations, determining food and beverage needs for the event, etc. The establishment of an advisory panel comprised of local business and civic leaders as well as citizens within the community is proving to be an essential component to the success of this arts engagement project.Coachella Valley Symphony
Think about relationships with partners and really listen and be as responsive as possible to what the community needs. This is a challenge for arts organizations who want to focus on what is cool or aesthetic. Be in tune with what community members want. Push people a little outside their boundaries but meet them first.LA Commons
It is all about relationships with the community. Find out if the partnership is a fit. Some partners come into it thinking about it one way and it changes. You need strong, committed partners in the community. It is not about imposing yourself onto others, but about being receptive to the partners’ goals and objectives, and how we can help make them a reality. The partner has to be invested as well. Through this, we build community.Los Angeles Opera
Each partnership relationship is unique. We began each relationship with the question “What can we do to support the work that you already do in your community/neighborhood?” All of the partners were amazed that we did not come in with preconceived recommendations about the work we would do together and instead we wanted to learn more about what each organization was hoping to accomplish. As a result, while partners are currently supporting some existing programmatic elements, much of the resulting partnership activity is unique to the partner.Oakland Museum of California
Something we did was to reach out to people through an in-person meeting with the leader of a particular group. Face-to-face interaction and explaining the project in person is critical. Meeting with somebody in charge, explaining how and why we are doing it, and having them be able to communicate that to others. We made flashcards as takeaways so they would feel equipped to explain it to others.Santa Cruz Museum of Art & History
Recruitment and strategic partnerships were a key component of the outreach programs and proved to be vital in successfully reaching the intended audience. We began by identifying two community partners with strong ties and connections to the community and asked for their assistance in recruitment. In order for stakeholders to have a vested interest in assisting us, they needed to see how the programs would help them further their desired outcomes. This meant that for each partner organization, the photography program had to have a different strategy and outcome that met the partner’s strategic goals. This made the outreach programs more involved in terms of planning, design and delivery.The AjA Project
One of the challenges we discovered during the first year of our project was that partner organizations' operational models vary. This affected how responsive they were to us and, thus, influenced how effectively we worked together. Staffing resources of partner organizations--some had long-term, full-time staff and others relied on volunteers with intermittent work schedules--affected planning, execution, and outcomes. Our success was dependent on the level of commitment of our partners, which we had not fully factored into our initial proposal. Further, partner organizations' own programmatic offerings influenced their levels of engagement.The New Children's Museum
A challenge has been to engage community members in an ongoing dialogue to generate consistently relevant programming. The organization has formed a community advisory group that meets periodically to provide crucial insights so that the organization can become more responsive to the community needs. This group has helped us address issues as fundamental as when and where to hold events...With community dialogue, we have increased attendance significantly through moving the program to more convenient locations and more appropriate times of the week (weekends and weeknights).Diavolo Dance Theatre
We have learned that grassroots outreach has been more effective in getting the word out than press releases, newspaper articles, or any marketing materials printed by the organization. It seems social media, email forwards with PDF flyers that are easily printed and referenced, and face-to-face meetings with opinion leaders have a high yield for us. We also found that the people likeliest to come out to the events were people who lived within walking distance of the events. This highlighted that the more multi-use, populous, and diverse our partner site is, the more traffic we will garner.Los Angeles County Museum of Art
At the crux of our experience was a learning curve that taught us, as a nonprofit organization used to having an audience beat a path to our door, that we couldn’t and shouldn’t rely on our name-identification and branding alone to draw in this new audience. We gained valuable ground toward the end of the first year of the grant, however, through the establishment of deep and committed community partnerships. These partnerships were instrumental, leading us to the conclusion that the initiative works wholly and best as a collective, collaborative effort between all community parties involved.Palm Springs International Film Festival
A key lesson for us was that an abundance of marketing materials and advertising did not guarantee a strong turnout. Feedback indicated that the materials developed for year one of the program did not sufficiently communicate a sense of what the program was, nor did it generate sufficient interest in the program. Our poster came across as prescriptive/intellectual rather than something to be enjoyed. It also became clear to us that strong simple visuals were more effective in communicating the program than words, as many people seemed disinclined to read the text. So we worked closely with a top designer to create key artwork for our poster, T-shirts and materials, which turned out to be highly popular, with many of the attendees requesting posters and eager to acquire T-shirts.Palm Springs International Film Festival
We should have engaged our marketing partners earlier than we did. From a marketing standpoint, we discovered the invaluable force of a bilingual marketing coordinator, whose approach to community connectivity has influenced how we are reaching out to potential new audience members in general.South Coast Repertory
We have learned a lot in terms of how we reach out to people. The spirit of invitation. Creating something that people are curious about as opposed to more proactively trying to get people to come to us. Even when we are setting up our space, we are purposeful about setting up and quickly.Street Poets
When you bring in the community, and multiple ages of the community, you have to let the work achieve its own shape. You can’t say “I would do it this way.” You say, “you want to do it that way; it’s good.” You have to release a certain amount of OCD and let it go.University of the Pacific
Provide programming in a community location. Use this location as an entry place so that you can connect with participants more closely. Go to the participants instead of asking them to come to you. Connect with people in the community by first reaching out to them and connecting with them in their neighborhoods.Bowers Museum
The workshops that went to the people where they are were very successful. We used informal strategies to tell people about the events - word of mouth was generally the most successful outreach method, i.e. someone you know tells you about it in a space that is more familiar. Handing out flyers was not effective. Informal networks were most helpful. Organize with other organizations that work in the community (not just with arts organizations) so that they can also help get word out.LA Commons
We were called upon to create a program that is specifically for non-traditional settings, so it merits nontraditional thinking, non-traditional promotional platforms, and non-traditional forms of getting the word out. Also for us, our whole programming is, well to us it’s every day, but to most people short films that are subtitled are non-traditional. We can’t take all of that and put it into our customary formula. It actually caused upon us to look at the rules of the games and throw them out.Palm Springs International Film Festival
We learned it was to our advantage to be as self-contained as possible since there was no continuity between each venue's technical support system. This mobility allows us great freedom in adding new venues – venues such as churches, synagogues, mosques and any other gathering place for our demographic.Palm Springs International Film Festival
We have been most impacted by the relationships we developed with public libraries. We saw what an invaluable resource they are in neighborhoods, and librarians were particularly receptive to organizing events in their neighborhoods. Libraries are trusted community centers, and thus allowed the event to reach more people in diverse communities.Ryman Arts
Utilizing the different spaces for the performances helped community leaders see those spaces in a different way. The civic center area is usually for the homeless and protests. They were not accustomed to seeing performances there.South Coast Repertory
We were purposeful about the set up and made it look like something was going on around the van. People were curious and would come around as we set up the dry erase board and PA system. We would just start doing it ourselves and it would draw people in. We were not dependent on the response from the people on the site, we had people on board that would help make something. We started to develop partnerships in the community as well. The most successful outings were the ones in which we were expected to come. We were an added element to a community gathering.Street Poets
Many families were not able to participate due to lack of child care. To make their participation possible, we offered childcare. That is something very important, so children are not running around everywhere while the parents are rehearsing. This helped a lot and made it possible for the whole family to participate without worrying who is going to take care of their children.Centro Binacional Para El Desarrollo Indígena Oaxaqueño
Events with food are much better attended. If something had no food or giveaway then it was not thought of as official programming or paid attention to in the same way. So then we paired our activities with already existing events (i.e., food bank giveaways, holiday events). Our workshops happen following a performance. We add on to existing events and activities and don’t create something from scratch.Counterpulse
Create multiple ways for people to participate. That was already on our minds. For example, combine a mural and a performance. As an organization we have the most experience in live performance. Making the jump to people making the artwork is a big jump for us. It is the way to get people to start creating and enter in. Performance can be an intimidating proposition for participants. One way we’ve tried to reduce this pressure is by integrating performance and workshop activities so that participants can be learning and performing for peers at the same time.Counterpulse
We have learned that community arts programs should be implemented with flexibility in mind. Although we treat our community participants with high expectations, they may have irregular attendance at workshops because of other commitments, lack of transportation, or other issues. Through these obstacles, our teaching artists maintain the workshop curriculum and our commitment to sharing the organization's values of trust, teamwork, and individual expression.Diavolo Dance Theatre
Most effective strategies are not universal but more about the site and location we were in. Instead a diverse menu of activities and offerings was important and made the project more effective. Some people wanted intense workshops; for others, the workshops were too much of a commitment. For some, sharing an oral history was too personal - watching others share their story was more appealing than actually participating. All three aspects together were effective because it provided options for the many motivations and needs of the diverse psychographs served via this project.Los Angeles County Museum of Art
Having a wide variety of types of activities helps people engage. People can engage in variety of ways. They get to try different things. There is a range of background of people so range of activities is important. Make simple parameters that people can alter themselves. Nothing as stagnant but more flexible.Ryman Arts
We are co-designing projects so they resonate with people and help them feel welcome. People framing their own art experience has helped them feel welcome at our events.Yerba Buena Center for the Arts
With these kinds of big projects, it is ideal and best when the whole department (or in the case of smaller institutions, it is ideal when the entire organization is behind the effort) bands together. We needed to make it a full department effort in order for it to be successful. Not being able to find the perfect community liaisons made us rely on our internal staff, and it was a positive benefit of not finding the right external staff person in each community.Los Angeles County Museum of Art
It is a triad of the institution, artist, and community. Finding the right artist is so important. When we brought in an artist with a more community-focused practice it made for a stronger process and product. We often think about the importance of the public engagement process, but there are also museum expectations around the quality of the art being produced. It needs to be right artist to balance that and involving the artist was critical.Oakland Museum of California
Be clear with partners, staff, and everyone why you are doing this project. There is a danger when a project is grant funded that staff feel that this is what is being mandated by the funder and then it's not as authentic. Make sure the organization is really clear about why they are doing it and that it is not just because of the funder.Oakland Museum of California
The artists need to be engaged as well as have sense of value and belief in public practice. They need to know how to take the essence of what they do and make it for the community. There is a depth to it but still accessible. Not all artists get that.Ryman Arts
Staff trainings are very important before you send them out to the community. If we were to launch something like this brand new, we would spend some quality time with the staff infusing them with the spirit of engagement and invitation.Street Poets
Get buy-in of the full organization staff. Every month we talked about what is going well, and we sent out regular success emails. Leadership and communication is important. Share the personal stories with the staff. Makes it grounded for them.ValleyPBS
Having a launch meeting for each project and inviting key agency leaders and community group leaders got them on board from the beginning. They could help us contact different groups. Initial meetings are really important and following through...every time something happened was also important. An initial part of our effectiveness is finding the right people who “get it.”Yolo County Arts Council
Following are answers to the most frequently asked questions about the Exploring Engagement Fund. We updated this list with answers to some of the common questions raised during the Exploring Engagement Fund webinar held on October 23, 2014. View a recording of the webinar, which includes two question-and-answer sessions with participants.
Please read the Initial Application Timeline above.
No, the Exploring Engagement Fund is the only open competitive fund that we offer.
While we are not able to share applications, we do encourage you to review a report that documents lessons and practical tips gained from our initial rounds of the Exploring Engagement Fund.
Yes, Exploring Engagement Fund grants are for California arts organizations, and are not intended for organizations established primarily to provide social services, even if those organizations use the arts as a vehicle for service delivery.
Colleges and universities, including university art departments and visual and performing arts presenters affiliated with universities (unless the presenter operates as an independent arts organization with its own 501( c )( 3 ) status), are not eligible to apply to the Exploring Engagement Fund. Colleges and universities may partner with an eligible nonprofit arts organization on an Exploring Engagement Fund project. However, the partner nonprofit organization should be the lead applicant, not the university.
Public broadcasting and/or public media entities that may have arts programming are not eligible to apply to the Exploring Engagement Fund.
You are welcome to partner with one or more arts or non-arts organizations if doing so would help you reach your goals for arts engagement. However, we will only consider applications from a single organization. This lead organization must be an arts nonprofit that meets all eligibility requirements. If you are considering partnering with another organization, we encourage you to read the Lessons and Practical Tips document in advance of applying, as it contains helpful advice for building strong partnerships.
Yes. Working outside of our priority regions does not necessarily make your project less competitive. We welcome and encourage applications from nonprofit arts organizations located anywhere in California.
If your organization does not have 501( c )( 3 ) public charity status, we will accept an application only if you have an established relationship with a fiscal sponsor. Both the fiscal sponsor and the fiscally sponsored project must be based in California. Individual artists who have fiscal sponsorship are not eligible; the Exploring Engagement Fund is focused on arts organizations.
Applicants working with an approved fiscal sponsor must have their own track record of $100,000 or more in annual expenses.
Should you be invited to submit a full proposal, we will review the Memorandum of Understanding (MOU) between the two entities to verify the level of oversight provided by the fiscal sponsor.
Artists are a great asset that the field has to spur innovation, and we encourage arts organizations to partner with artists. In your application, you may include artists' fees itemized as a budget expense. Individual artists who have fiscal sponsorship are ineligible because the Exploring Engagement Fund is focused on arts organizations.
You may apply for a project that takes place in California and serves arts participants in California. Projects that are intended for multistate participants, or participants from another state, will not be competitive.
Fundraising arms or associations created by public entities to collect donations may be eligible to apply to the Exploring Engagement Fund as long as the organization meets all eligibility criteria. Please note that such organizations must meet our 50 percent government support rule, and your project must be independent from government support.
If you have an active grant from the Irvine Foundation, you should not apply for a new grant until current Irvine funding has ended and your grant is no longer active. To be eligible to apply for an Exploring Engagement Fund grant, your final narrative and financial report must be received and approved by the Foundation, and the end date of your existing grant must be at least one month prior to the date of your application submission. Please contact the Foundation at firstname.lastname@example.org if you have questions regarding eligibility.
Organizations that have current support from an Irvine-funded regranting program may not apply for an Exploring Engagement Fund grant for the same project.
We define active participation as the experience of making or practicing art. Active participation is at the other end of the spectrum from observational participation, where one views or watches what someone else has created. And just to clarify, our strategy doesn’t mean we don’t support observational participation. However, we think that the arts field needs to adapt and discover a different equilibrium of practices and approaches in order to engage more Californians. Our Getting In On The Act report may be a helpful resource, as it further contextualizes how artists and arts organizations are creating opportunities for active participation.
While there are many arts venues throughout the state, our research and experience indicate that bringing the arts to places familiar and frequented by diverse Californians is an underutilized opportunity to engage a wider audience. We think the field can learn a lot from experiments utilizing these types of places to engage low-income or ethnically diverse participants. Our Why “Where”? Because “Who” report may be a helpful resource as it further contextualizes how artists and arts organizations are utilizing unusual spaces for art to reach new and more diverse audiences.
We are most interested in supporting organizations to use new technologies in a way that enables people to actively produce or create art, rather than just using technology to participate in an observational way. We are also looking for projects that go beyond traditional marketing uses of technology, and instead allow people to participate in the arts in new and different ways through technology. Our Getting In On The Act report might be a helpful reference to get a sense of some of the uses of technology related to the “How” pathway.
Funding through the Exploring Engagement Fund is awarded on a competitive basis. We anticipate being able to fund only 10 to 20 percent of the applications we receive. We offer applicants the following advice:
Based on our observations during previous rounds of the Exploring Engagement Fund, competitive Initial Applications had the following characteristics:
For the purposes of the Exploring Engagement Fund, "risk capital" means funding for arts organizations to experiment with new ways of engaging audiences and participants with the “Who, How, Where” pathways outlined in our Arts strategy. We anticipate that some of these experiments may fail, and we find value in learning from both successful and unsuccessful projects that attempt to engage Californians in the arts in new and different ways.
The proposed project can be completely new or an experiment that takes a distinctly different approach with an existing project or practice. Because the Exploring Engagement Fund is intended to support organizations experimenting with new engagement practices, applications for existing programs would need to clearly demonstrate how the proposed project fits the criteria of risk taking and experimentation.
Projects supported by the Fund must represent a risk and experiment for the organization to increase arts engagement in new ways, even if similar projects have been piloted elsewhere and/or have been tried with different audiences. That being said, we also hope to receive applications for projects that may be an innovation for the arts field as a whole!
The Exploring Engagement Fund focuses on risk taking and experimentation, not on sustainability. If your project is a success and you wish to continue it in your community with a different source of funding, great! If your project does not continue beyond the funding period, that’s fine, too.
No, it does not benefit your organization to apply earlier in 2015 rather than later in the year. We are looking for high-quality and well-conceived projects that are aligned with the criteria of the Exploring Engagement Fund and help to advance the overall goals of our Arts program. We recommend taking the time to plan and develop your project ideas and to determine if they are aligned with the fund's criteria before submitting an Initial Application, rather than rushing to submit an application early in the year.
Previous Exploring Engagement Fund grantees are eligible to apply again once their grants have ended and all final reports have been completed and approved. However, as the Exploring Engagement Fund is intended to support organizations to experiment with new engagement practices, applications from previous grantees would need to clearly demonstrate how the proposed project fits the criteria of risk-taking and experimentation. Applications requesting continued support for projects previously funded through the Exploring Engagement Fund will not be competitive.
Due to the volume of applications, we are unable to provide individual feedback regarding declined applications.
If you have previously applied for an Exploring Engagement Fund grant and were denied funding, we encourage you to carefully review the funding guidelines before reapplying. The fund is highly competitive, and we are able to fund only those projects that most closely fit our criteria.
An organization can submit up to two Initial Applications for funding consideration in 2015. If your organization's Initial Application was declined, you may choose to submit one additional Initial Application for funding in 2015. However, the Foundation will only review one application at any one time. Organizations must wait to receive a response on their first Initial Application before submitting a second application. Resubmitting an application for a project that was previously declined is not recommended.
Exploring Engagement Fund projects can take place over a one- or two-year period. If your organization budget size by annual operating expenses is between $100,000 and $5 million, you may apply for up to 10 percent of annual operating expenses, with a maximum request amount of $125,000 per year. If your annual operating expenses are more than $5 million, you may request up to $250,000 per year.
Yes. Staffing or other operating costs that directly relate to the proposed project may be requested as separate line items in the project budget. In addition, Exploring Engagement Fund applicants may request up to 10 percent of their grant for indirect costs to support the organization's general operations. Indirect costs should be included as a budget line item, with the total grant request not to exceed the maximum amount for which the organization is eligible to apply (see the maximum grant request question above).
No, you are not required to submit a California Cultural Data Project Funder Report to Irvine with your Initial Application. If you move forward to the full proposal phase, you would then be required to complete/update your Cultural Data Project profile and submit a current Irvine Funder Report with your full proposal.
If you have questions about any aspect of the California Cultural Data Project, please visit their website or contact the California Cultural Data Project Help Desk at 877-707-DATA (877-707-3282) or by email at email@example.com. The Help Desk is available Monday through Friday from 9:00 a.m. to 5:00 p.m.
For visual, step-by-step instructions, click here for an instructional document.
First, access the Initial Application Form and save it on your desktop as a PDF. Open the saved form from your desktop and complete. Submit the completed form via the online portal. This form is the only format we will use to review submissions, and additional materials will not be accepted during the Initial Application phase. If you move forward to the full proposal phase, the Foundation will contact you and provide further instructions on how to submit the full proposal and supporting documents.
When you are ready to upload your Initial Application Form, go to this link provided. This link will launch Irvine’s online grants portal. New portal users should register to create an account. Previous portal users can use their existing username and password; if your organization has previously submitted an application or received funding from Irvine, please contact firstname.lastname@example.org to confirm your login information. After logging in, you will be prompted to enter a variety of administrative data. On the next tab, “Attachments,” you will be prompted to upload the Initial Application PDF Form. Click on the “Select File” button, which will allow you to search your computer files. Click “Attach File,” go to the location on your computer where you saved the completed form, and select “Upload.” Once uploaded, the document will be listed on the screen as “Initial Application PDF Form.” Finally, visit the “Review & Submit” tab, to review your web form data and the attachment, and press “Submit.”
Please visit the Foundation's grants web portal and log in with the same username and password as when the application was initially created. Your “My Submissions” home page will show a list of applications drafted (and/or submitted) to the Foundation. To continue working on a draft, click on the pencil and paper edit icon on the far left of the screen; to view an already submitted application, click on the magnifying glass view icon. You cannot start a new blank application from this screen; to do so, please visit the application link in the Initial Application Instructions. Users will receive an email confirmation once their Exploring Engagement Fund Initial Application has been submitted successfully.