Join the Arts Loan Fund for an exciting conversation on funding culturally specific and immigrant communities in the Bay Area! The panel will explore the importance of creative place making and place keeping. In the midst of so many changes in our communities, how do we as grantmakers honor the distinct characteristics and soul of the neighborhoods and cities we serve?
The program will also hone in on the issues and trends in culturally specific work that funders should be paying attention to. We will dive into the needs of artists and cultural organizations and strategies to further the work in order to better accommodate current realities.
The panel brings personal and professional expertise in working with culturally specific communities and include backgrounds in government, philanthropy, and non-profits.
About the Arts Loan Fund
Since 1981, the Arts Loan Fund (ALF) has provided over 1,345 low-interest, quick turnaround loans totaling over $18 million, to arts organizations located in Alameda, Contra Costa, Marin, Monterey, Napa, Sacramento, San Mateo, San Francisco, Santa Clara, Santa Cruz, Solano and Sonoma counties, and individual artists in Oakland and San Francisco.
The Arts Loan Fund is housed at Northern California Grantmakers, and its committee is comprised of NCG members. The committee meets every six weeks to review loan applications and determine loan awards.
Roberto Bedoya is the Cultural Affairs Manager for the City of Oakland. Roberto served for nine years as the executive director of the Tucson Pima Arts Council (TPAC) where he oversaw arts grant making, facilitation of the region’s public art initiatives, professional development and training for artists and arts organization, fundraising, research and policy development work around the arts, and cultural advocacy, including celebrating and supporting Pima County’s diverse community identities. While at the Tucson Pima Arts Council, Roberto designed and implemented the nationally recognized P.L.A.C.E (People, Land, Arts, Culture and Engagement) Initiative that supports art-based civic engagement projects. Roberto has written and spoken extensively about “creative placemaking,” and has been a Policy Fellow at the Herberger Institute at Arizona State University. A prolific poet, Roberto grew up in the Decoto community of Union City. He also served as executive director of the National Association of Artists’ Organizations (NAAO) and worked at the Getty Research Institute in Los Angeles on community partnerships and public programs. Earlier in his career, Mr. Bedoya served as the Managing Director and Literary Director at Intersection for the Arts in San Francisco.
Lily Kharrazi is the Program Manager of the Living Cultures Grants Program at the Alliance for California Traditional Arts where she has had the privilege of meeting and working with many culturally-specific and traditional arts communities, and helping them to produce their work and sustain their organizations. A dance ethnologist by training, she has worked in refugee resettlement and was formerly program director at World Arts West (WAW), producing nine seasons of the San Francisco Ethnic Dance Festival. While at WAW, she conceived and developed the successful children’s show “People Like Me.” She serves as a consultant to both local and national projects involved with arts and culture. A first generation American, she is trying to figure out if it’s family folklore or truth to say that she is the first one in her family to be born outside of Iran in 14 generations. Lilly received her M.A. from UCLA, from the acclaimed World Cultures Program.
Dr. Anne Huang is the Development Director of World Arts West, producers of the San Francisco Ethnic Dance Festival, which supports Bay Area dance companies that are sustaining and celebrating the world’s cultural legacy. With over twenty years of experience in arts administration and executive management, Anne specializes in resource development and capacity building for traditional artists and culturally specific arts organizations. Supporting and developing the traditional arts is Anne’s second career. Inspired by her involvement as a singer and dancer with groups such as Oakland Interfaith Gospel Choir and Obakoso, she left her successful career in dentistry to fulfill her lifelong dream to support the traditional arts. Anne has worked with CubaCaribe, LIKHA, Chinese Culture Center of San Francisco, Dimensions Dance Theater, Brasarte, Mahea Uchiyama Center for International Dance, and many other arts organizations. Anne is the former Executive Director of the Oakland Asian Cultural Center (OACC), where she transformed OACC from a struggling arts organization into a vibrant cultural institution. She is also the founding director of the Oakland Chinatown Oral History Project, which aims to preserve Oakland Chinatown’s cultural and historical legacy through intergenerational dialogue. Her dedication comes from her belief in the timeless significance of traditional arts to empower individuals and transform communities.
Esailama Artry-Diouf, Ph.D. is the Founding Director of Bisemi Inc. and Program Associate for the City of Oakland Cultural Funding Program. She currently proudly serves on the Board of Directors for the Alliance for California Traditional Arts (ACTA), the Silicon Valley African Film Festival and for over 15 years the Director of Communications for Danny Glover, actor/activist and Ambassador for the United Nations International Decade for People of African Descent. As a scholar and artist, she has lectured in the United States and conducted long–term residencies in India, South Africa, Cuba, Barbados and Trinidad-Tobago. Esailama is also the co-editor of a forthcoming volume entitled African Dance in America: Indelible Stories of Hot Feet, Perpetual Motion, and Social Change. Much of Esailama’s work as an arts administrator, scholar and advocate explores challenges and solutions for cultural artists in the 21st century: the relevance of cultural arts to policymakers and philanthropists; the establishment of developmental resources for the next generation of artists and arts administrators; the continued vitality of cultural arts for marginalized communities in the United States; and the importance of cultural arts in conversations about the cultural economy, place-making, restorative justice, and community inclusion.