Individual Donor

2004, 132 pages. National Committee for Responsive Philanthropy, 2001 S Street, Suite 620, Washington, DC, 20009, 202-332-5084, www.ncrp.org

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.

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January 7, 2005. Hosted by the Ford Foundation and organized by Grantmakers in Film and Electronic Media's (www.gfem.org) Working Group on Electronic Media Policy. Co-sponsored with Grantmakers in the Arts, the Funders Network on Trade and Globalization (www.fntg.org), and the New York Regional Association of Grantmakers (www.nyrag.org).

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.

I believe it is time to begin a conversation about a new model for building a vibrant arts landscape. Since I left federal service in the fall of 2001, I have had an opportunity rare for former chairmen of the National Endowment for the Arts—the chance to create a research center engaging the very issues that fascinated me during my tenure with the endowment.

2004. Centre for Creative Communities, 118 Commercial St., London E16NF, UK.

Recent decades have seen rapid immigration into traditional gateway cities as well as rural and suburban communities throughout the United States. Craig McGarvey's thoughtful Pursuing Democracy's Promise speaks to the importance of new United States residents' fully participating in civic life alongside the native born.

To California's great Central Valley they have come from the highlands of Oaxaca, the cities of eastern Pakistan, the relocation camps of Thailand—political refugees and new immigrants from around the world aspiring to build a future for their children, grands, and greats.

For three days in October these new U.S. Americans gathered in Fresno's Tower District for their second Tamejavi Festival. Everyone was welcome; the historic Tower Theatre's marquis proclaimed, “Tamejavi: It's Still Free.”

Early in 2004, the Graduate Center of the City of New York convened ten small to mid-sized arts organizations to talk about what had happened to them in an experimental, internet-based project funded by the Ford Foundation. The ten, from across the country, are community-based cultural organizations; they share a commitment to emerging and experimental artists and art forms, and a commitment—equally firm—to their local or nearby communities. Despite their similarities of mission, the ten were not familiar with each other's work.