Traditional / Folk arts

2004, 20 pages, with accompanying DVD. La Peña Cultural Center, 3105 Shattuck Avenue, Berkeley, CA 94750, 510-849-2568, www.lapena.org

2004, 119 pages, ISBN 0-9759241-1-7. Global Business Network, 5900-X Hollis Street, Emeryville, CA, 94608, 510-547-6822

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As Tia Oros Peters so eloquently states in her essay that follows, there is no particular word for art in the thousands of Indigenous languages of the world. While there are hundreds of Native American languages, the same holds true; Native Americans do not and cannot separate the importance of art and culture from everyday life. It is one goal of GIA's Indigenous People's Network to bring this important way of life to the fore of grantmakers' thinking.

The fall 2002 issue of the Reader (volume 13, number 3) introduced an ongoing feature, "Why Art?" as a response to GIA's goal to strengthen the role of arts and culture in philanthropy and in society as a whole. This Reader feature aims to help members and others make stronger arguments for the support of arts and culture by sharing examples of arguments, case statements, insights, and stories that convey the multifaceted role that culture, the arts, and artists play in our society, neighborhoods, and individual lives.

The full text of this article is not yet available on this site. Below is a brief excerpt.

Lawrence Lessig sees Big Media waging war against culture in America. And he, for one, is fighting the battle. A professor at Stanford Law School, Lessig achieved notoriety when he represented web site operator Eric Eldred in the ground-breaking case Eldred v. Ashcroft, a challenge to the 1998 Sonny Bono Copyright Term Extension Act. Eric Eldred was a man who wanted to build a library of derivative versions of public domain books (e.g., Hawthorne's A Scarlet Letter) and make them available for free on the Internet.

October, 2004. Convened by the Alliance of California Traditional Arts, the Presidio, San Francisco, California

The lines between arts and environmental grantmaking often are sharply drawn. However, in the life of thriving communities, the two are integrally linked. As part of a roundtable discussion at last October's GIA conference, it was heartening to share vivid examples of how GIA members are exploring the intersections of environment and art.

The following remarks were presented at a symposium that was part of the 2004 Ars Electronica Festival: TIMESHIFT—The World in Twenty-Five Years. This festival for art, technology, and society was founded in 1979 and is held annually in Linz, Austria. Joan Shigekawa, associate director of Creativity and Culture at the Rockefeller Foundation, spoke on the final panel of the symposium, “TOPIA,” which was designed to “present scenarios around a wide variety of topics relating to art, technology, and society.

2004, 45 pages. Published by Cultural Policy Center at the University of Chicago, 1155 E. 60th Street, Chicago, Il 60637, 773-834-5995

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