Building Bridges: Arts, Culture and Identity Grant Program
Guidelines - Round I
Deadline – Thursday, March 3, 2016 (5:00 pm EST)
Funded by
Doris Duke Charitable Foundation and Doris Duke Foundation for Islamic Art
Program Background and Description
The overarching goal of APAP’s grant program - Building Bridges: Arts, Culture and Identity - is
to increase cross-cultural knowledge and understanding by engaging young people and other
audiences in performances and interdisciplinary activities that focus on arts and culture that
has roots in contemporary Muslim-majority regions of the world. This is to be accomplished by
engaging with artists who, through their work, exemplify the layered and diverse cultural
identities of Muslims living in the U.S. and around the world.
As was discussed at the 2015 Grantmakers in the Arts conference, funders are being asked to
consider allocating resources and developing mechanisms to enable arts organizations to
respond in timely ways to conflicts and crises that arise in their communities. Through its
research during the EmcArts’ Innovation Lab process, APAP further identified the need for
communities to expand opportunities for artists with culturally-diverse backgrounds to engage
audiences in experiences that develop greater community cohesion and well-being.
Recent regional, national and global convenings organized and hosted by APAP and by the
International Society of Performing Arts (ISPA) have identified the need to more effectively
develop innovative pathways through arts and cultural programs to engage and connect
communities, Muslim immigrants and non-Muslims, for mutual well-being. Cultural
organizations are increasingly partnering within their communities to increase more nuanced
understanding of religious and cultural identities especially the distinction between Islam, the
religion, and those whose identity is rooted in diverse cultures of Muslim regions.
This grant program follows upon the accomplishments and lessons learned from the Building
Bridges: Campus Community Engagement grant program, established in January 2013 with an
award of $2,280,000 from the Doris Duke Charitable Foundation (DDCF) and the Doris Duke
Foundation for Islamic Art (DDFIA). In 2013, six campuses were awarded two-year grants of
approximately $200,000 each to undertake innovative initiatives to increase awareness and
understanding of Muslims through a focus on arts and culture.
APAP engaged WolfBrown to guide research and evaluation of the Building Bridges projects,
which included quantitative and qualitative evidence of change in knowledge and attitudes
among student cohorts on each campus. The conclusions drawn in the WolfBrown evaluation
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report indicated that “transformational experiences take place when students are able to
explore their own identities, experiences, and biases in relation to new knowledge they are
gaining about Muslim cultures and hybrid identities among Muslims and people from Muslimmajority countries.”
APAP's experience with the Building Bridges: Campus Community Engagement grantees and the
previous Creative Campus grant program indicates widespread need across our membership for
assistance in developing strategies and resources to help them develop and sustain performing
arts programming that expands community-wide knowledge and appreciation for populations
that are often portrayed negatively or inaccurately in the media in conjunction with global
conflict. These activities have also enhanced APAP's knowledge and capacity to develop and
provide opportunities for innovative projects, professional development, and online resources
that address this need.
The Building Bridges: Arts, Culture, and Identity grant program serves as a unique vehicle for
both foundations (DDCF and DDFIA) to partner with APAP to support mission-critical projects
that demonstrate the power of the arts to improve the quality of life in communities across
America.
Project Goals
In September 2016, APAP will award up to 8 presenting organizations with 29-month project
grants of up to $170,000 each. Grantees are expected to plan and maximize resources
collaboratively with campus-wide and external community partners in order to engage targeted
populations – with a primary focus on young people born after 1980 (the “millennial”
population).
Funds from the Doris Duke Charitable Foundation (DDCF) and Doris Duke Foundation for Islamic
Arts (DDFIA) will support projects that are designed to meet the following goals:
1. Develop and apply creative and innovative cross-community engagement strategies and
resources for specific audiences (e.g. the millennial population of 18-34 year-olds or others) for
the purpose of achieving transformational experiences that lead to measurable and sustainable
positive change in knowledge and perceptions about Muslims;
2. Document, define, and disperse information and resources about best practice through the
arts that increase knowledge and appreciation of the diversity of Muslims in U.S. communities
and/or regions where there has been limited exposure or access to such content and context;
and
3. Increase opportunities to present and tour artists and work from or with cultural roots in
Muslim-majority regions through contributions to and participation in a centralized digital hub.
The hub will provide access to information and resources, in addition to opportunities for
booking and touring international artists.
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Project Grant Eligibility
APAP Membership: Applicants are not required to be members of APAP to be considered for
Round I review. However, non-member applicants invited to go forward as semi-finalists will
need to acquire an APAP membership prior to submission of the Round II proposal. All final
grant recipients must remain active APAP members for the duration of the grant program. For
consortium applicants (see below), only the lead organization is required to hold an APAP
membership.
Presenting Organizations and Partnerships: Grants will be available to college and university
campuses with established performing arts presenting programs and other presenting
organizations presenters that have an established partnership with a campus in their
community to provide performing arts programming for students and faculty. Organizations are
eligible regardless of size, location, and/or type of higher education or community-based
institution. However, the final selection of top candidates may take into consideration
geographic spread and campus/community size to achieve diversity among grant recipients.
Applicants must be designated as a performing arts presenting organization serving students
and other audiences in the college community, demonstrate a commitment to enhancing arts
presenting from the institution’s chief academic officer or executive leadership, and have a
documented history of effective performing arts programming, work with performing artists
and arts audience development on and off campus. Applicants must be able to demonstrate
experience working with external community partners to engage target audiences in arts and
cultural programs.
Individual and Consortium Proposals: Applicants may submit proposals that meet one of the
following criteria:
1) a project or program for an individual campus that meets the Building Bridges
program goals and criteria; or
2) a consortium of a minimum of three campuses for a project or program that meets
the Building Bridges program goals and criteria. The 15 semi-final applicants will be encouraged
to participate in learning and peer networking activities with previous Building Bridges grantees
and other campuses and communities with experience in presenting artists with Muslim
backgrounds.
Consortium Criteria: Each of the minimum three consortium members (including the lead
organization) must be physically located in and serving a different community, although this
may include separate communities within a large metropolitan area. The consortium proposal
should include a plan for the member organizations to share at least one artist/company for a
residency and/or commissioned work, as well as to share marketing and promotional resources.
Although each consortium member will still be responsible for contracting a paid Fellow or
Advisor (see below), the research and evaluation design should include shared strategies and
tools to enhance opportunities for useful comparative analysis among student cohorts. The
plan should also include expectations for site visits among project personnel, partners, and
potentially faculty and students to enhance the learning experience.
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Project Research, Documentation and Evaluation: As with the previous grant program, each
project will be responsible for recruiting and contracting a paid Fellow or Advisor, who will
report to the project director and the grant program Evaluation Advisor (see below), with
primary responsibility for guiding the recruitment, sustained engagement, and assessment of
students and other young people in project activities. APAP learned from the previous Building
Bridges grant program that quantitative measurement based on standard research practice is
problematic for a variety of reasons. The Fellow or Advisor for projects in this round should
have skills in qualitative research with the ability to guide student feedback and to write about
it. In conjunction with the need for documentation and review of evidence on a qualitative
basis, each project will also be required to hire a videographer. The role and responsibility of
the videographer will be to capture anecdotal responses and input from students and others
participating in project activities (including some of the artists), and to create a video narrative
that shows some of the work and reflects project outcomes. The Fellow and project director
will be responsible for co-supervising and guiding the work of the videographer.
APAP will contract with a Building Bridges grant program Evaluation Advisor to guide the grant
program’s overall research and evaluation component, as well as an Executive Producer to
guide the projects’ documentary video activities and video deliverables. The Evaluation Advisor
will assist with developing and reviewing research and evaluation guidelines and strategies for
Fellows/Advisors and project directors to integrate in their project objectives and activities
(based upon the conclusions and recommendations from the WolfBrown evaluation report).
Both individuals will conduct briefing meetings with the Fellows/Advisors and project directors
and will guide and monitor their progress over the grant period. In addition, Building Bridges
grantees will be expected to participate in a concurrent and related APAP-sponsored project to
establish a centralized digital hub that provides information and resources, as well as tools for
booking and touring, focused on international artists’ exchange. Grantees will agree to share
images, video, and written material that documents project activities to be included as resource
material for an online hub (the Cultural Exchange Laboratory) that is being developed and will
be piloted over the course of the grant period.
Learning Community: Applicants must be willing to participate in a learning community that will
contribute to an evolving knowledge base for the field. Grantees will come together within 1214 months from the beginning of the grant period and within the following 12-14 months for
“learning labs” designed to explore issues, challenges, accomplishments, and lessons learned as
their grant activities progress. In addition to convenings of the grantee cohort, APAP will foster
site visits among grantees for purposes of observing residency activities at other sites,
exchanging ideas and information, and possible collaboration on solutions to issues and
challenges in meeting goals and objectives. In addition to the above, APAP will plan and provide
professional development sessions focused on lessons learned and outcomes from the projects
in conjunction with the APAP|NYC conference in January 2017, 2018, and 2019.
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Other Support: Applicants must be able to demonstrate that funding received from this project
will be financially supported in part through other funds specifically directed to the project from
campus and community partners (i.e. Building Bridges grant funds cannot be the sole support
for project activities, however, there is not a minimum match required).
Review and Selection Process
As with the previous Building Bridges grant program, 15 semi-finalists will be selected from
among the first round of applicants. A six-member panel of professionals from the presenting
field (including artists) will be asked to consider applicants in two rounds. For the preliminary
application, the panel will be asked to identify up to 15 applicants that best meet Building
Bridges program goals and criteria, and demonstrate the commitment and capacity to achieve
their proposed projects on their campuses and in their communities. For the second and final
round, the panel will review full proposals for projects and select up to six grant awardees
(including both individual and consortium projects for a total of eight organizations) that best
exemplify the Building Bridges program goals and criteria.
A briefing meeting will be scheduled with semi-finalist applicants (in person and live streamed)
to ensure a deeper understanding of anticipated project strategies, outcomes and deliverables
that will be necessary to meet the Building Bridges program goals and criteria. The briefing
meeting will include a representative sample of former Building Bridges artists, grantees, and
consultants. Following participation in this meeting, each semi-finalist will receive a modest
planning grant to assist with development of a final proposal.
How to Apply
1. Read and review thoroughly the Guidelines and Application Preview.
2. Access and prepare the online application using your unique user ID and password (available
early-mid February 2016).
3. Submit the online application by the deadline of Thursday, March 3, 2016 (5:00pm EST).
4. Mail a hard copy of the application to: Building Bridges: Art, Culture and Identify Grants
Program, Association of Performing Arts Presenters, 1211 Connecticut Avenue, NW, Suite 200,
Washington, DC 20036. All hard copy applications must be postmarked by March 3, 2016.
Please NOTE: Incomplete applications will be considered ineligible and will not be reviewed.
Project Application Timeline
January 16, 2016
APAP announces the Building Bridges: Arts, Culture and Identity
Grant Program funding opportunity during the APAP|NYC annual
conference.
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February 16, 2016
3:00-4:00pm EST
APAP conducts a technical assistance webinar to respond to questions
regarding the Building Bridges grant program guidelines and application
process.
March 3, 2016
Round I applications due by 5:00pm EST.
April 15, 2016
Invitations to submit full proposals for Round II are extended to up
to 15 Round I semi-finalist applicants.
May 2016
Briefing meeting is held with semi-finalists (in person or via webinar).
Following the briefing meeting, semi-finalists are awarded $3,000
planning grants.
July 1, 2016
Round II applications due from semi-finalists by 5:00pm EST.
September 1, 2016
Announcement of Building Bridges: Arts, Culture and Identity Grantees.
Review Criteria
The primary target population for APAP’s Building Bridges Grant Program will continue to focus
on young people representing the millennial age bracket (generally 18-34 years). In addition to
this, projects should expect to engage with and bring together residents who come from
Muslim backgrounds with non-Muslims of all ages across the campus and greater community.
This may include community leaders and stakeholders, funders, and other segments of the
community (e.g. military members and their families).
It is important to recruit students and others to participate in the evaluation and research
design who are not pre-disposed to know about and/or appreciate the values and positive
aspects of those with roots in Muslim-majority societies. The ultimate goal of Building Bridges
projects, and the core of the creative campus model, is to increase the participation of campus
and community members (especially students) in campus-based arts and cultural experiences
through interdisciplinary planning and implementation of arts-based activities.
The following review criteria will be used by the Building Bridges: Arts, Culture and Identity
review panel to determine which applications will be recommended to submit full proposals for
consideration. The applications that address each criterion will be most competitive.
Project Concept
 Evidence of successful integration of the arts in an interdisciplinary program initiative
developed by the arts presenter, artist(s), and designated partners, that are consistent
with one or more of the college or university’s current priorities
 Collaborative process for arriving at a thoughtful and viable concept that focuses on
generating greater exposure to and understanding of Muslims
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


Clear articulation of the scope and focus of the initiative (i.e. what it is, the need it
addresses, why it is important, and how it will be developed and implemented)
Evidence of the artistic merit and quality of the project
A commitment to engage targeted populations in understanding and valuing the
creative process in conjunction with other project goals
Artistic Program, Artists and Creative Work
 History of presenting outstanding and diverse performing artists who reflect a wide
range of styles as well as international perspectives (this may include artists other than
those on the faculty, guest artists brought in for student productions, and collaborations
with visual, literary, and media artists).
 Willingness of the artist and the presenting organization to openly share the creative
process so that others may learn from it
 Process for identifying artists and expectations defined for their contribution to the
project
 Process for integrating knowledge and appreciation of Muslim cultural influences in the
creative work and programming for the project. Projects are strengthened by a specific
focus that serves as an entry point to contemporary Muslim cultures, such as and not
limited to geographic region, genre-specific or community-specific (i.e. American
Muslims).
 Please list the artists with whom you worked most successfully in 2014-16 and provide a
brief “review” of their particular appeal -- so other presenters can profit from your
experience. Please provide contact information, links to videos of their work and any
other relevant background material.
Campus and Community Engagement
 History of engaging and sustaining audiences on campus and in the community in
project activities which focus on the arts
 Extent to which a diverse range of students and members of the larger community are
likely to engage in and benefit from the project (to specifically include participants from
the millennial age range who were born after 1980)
 Depth and quality of cross-campus and community partnerships made possible by the
project
Organizational Capacity
 Evidence of the commitment and support of the college or university’s top
administrators, faculty, and community partners, including their participation in
strategic planning and policy-making that are critical to meeting project goals and
sustaining outcomes
 Designation of a specific campus-based department or program to work as the lead
partner with the presenting organization to ensure sustained leadership and flow of
resources through the life of the project
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

Extent to which conditions exist (including the commitment to participate in strategic
planning) to establish and/or expand partnerships and collaborations between the
presenter and appropriate individuals and committees representing key constituencies
across the academy and in the community
Strong commitment to supporting the artists' creative process and making college or
university resources available to students, faculty, and audiences, e.g., allocation of
physical, technological and intellectual resources
Project Impact
 Demographic information that defines the project’s target audiences and the context of
anticipated project outcomes
 Clearly articulated outcomes that can be reasonably achieved
 An evaluation approach that identifies the focus, process, and resources to be engaged
in documenting and assessing project outcomes
 Focus on a formative process with ongoing assessment of project activities that enables
grantees to develop strategies to improve the project, and refine project outcomes as it
unfolds
Definitions and Helpful Hints
The following information is provided to assist applicants with determining eligibility and
capacity for competing successfully in the Building Bridges: Arts, Culture and Identity program.
While there are exceptions due to the sheer diversity of organizations and approaches within
the arts presenting field, the information provided is meant to offer useful distinctions and
assistance with determining how to best categorize projects for the purposes of this grants
program.
Definitions
Performing Arts Presenter
APAP forms a sector of the performing arts field comprised of a variety of sizes, functions,
configurations and artistic and curatorial interests – all of which share the mission of providing
opportunities for artists and audiences to share the performing arts through performances,
commissioning projects, and education initiatives. For the purpose of this grants program, arts
presenters are expected to develop and implement interdisciplinary partnerships between
artists, campus and community partners to create audience engagement opportunities that
build knowledge and informed attitudes about Muslims. Although the presenting organization
applicant does not need to be physically based on a college or university campus, it must have a
formal arrangement with a college or university to provide performing arts programming for
the campus. Applications from a consortium of arts presenting organizations will be considered.
Interdisciplinary Work
Applicants are encouraged to design projects based on an interdisciplinary approach. This
should include research, teaching and/or creative collaboration that “integrates content, data,
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methods, tools, concepts, and theories from two or more disciplines or bodies of specialized
knowledge in order to advance fundamental understanding, answer questions, address
complex issues and broad themes, and solve problems that are too broad for a single
approach” (Klein and Schneider, 2009). See further background information on
interdisciplinarity as applied within the “creative campus” model in Placing the Arts at the
Heart of the Creative Campus (Brown and Tepper, 2012).
Campus and Community Partners
One of the lessons learned from APAP’s Creative Campus Innovations Grant Program (20072012) is the need to break through discipline-based silos that often exist in academia as well as
in non-profit organizations, including arts presenting organizations. The most successful
interdisciplinary projects reflect a commitment of colleagues from different disciplines and
settings to develop shared language and ways of working together (requiring “time, patience,
openness and flexibility” as described by Brown and Tepper, 2012 – cited above). It is important
to identify potential partners who have demonstrated an interest in interdisciplinary work,
have the capacity and commitment to engage and contribute to the project from beginning to
end, and clearly understand the value of and process for accomplishing anticipated project
outcomes. Partners may include visual arts and other cultural organizations and institutions in
addition to community service providers who also focus on the target population.
Participation of Artists
The central artist(s) involved in this project should be a practicing artist who demonstrates a
history of solid public performance experience, knowledge, and direct experience with the arts
and culture of Muslim-majority societies. Such artists may currently reside in the U.S. although
they should have direct roots through family or study in societies outside the U.S. Artists
selected to participate in the project must be committed to openly sharing their creative
process as part of the development of new work or through residencies that are connected to
project goals and objectives. This includes such activities as master classes; co-design and
instruction of new curriculum-based courses; workshops for students, faculty, and/or
community members; pre- and post-performance discussions, and other opportunities to
provide insight about the role and value of integrating the arts. Note: Although artists do not
need to have been invited or confirmed by the presenter as part of the Round I application, it is
important for the presenter to identify a breadth and depth of knowledge about potential
artists whose background and expertise most closely matches the project concept and goals.
Muslim Culture and Identity in the U.S.
Recent research indicates that Americans generally feel neutral or unfavorably toward Muslims.
According to a DDFIA research report (2012): “When asked what questions they might have
about Muslims around the world, participants focused on ideas and images from news media
portraying Muslims—both abroad and in the United States—as strictly devout, angry and
intolerant of the “American” way of life. The purpose of this grant program is to demonstrate
discernible change in knowledge and attitudes about Muslims and cultures rooted in Muslimmajority regions, and the ways in which Muslims identify and participate as citizens residing in
U.S. communities - particularly where there has been limited exposure or where opportunities
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exist to strengthen and expand existing partnerships and resources. As opposed to religious,
political, economic, or other issues that affect widespread media portrayal of Muslims here and
abroad, arts-based projects create an opportunity to focus on the diversity and richness that
Muslim cultures are rooted in, thereby increasing awareness and understanding of the
influence of culture, on the make-up of Muslims living and working in U.S. communities.
Helpful Hints
Applicants are encouraged to respond directly to the eligibility requirements and review criteria
identified in the guidelines above. Successful applications will provide clear and adequate
evidence of the following:
o Commitment from top level campus officials and community partners to provide policy
support and resources that ensure the success of the proposed project.
o Documentation of the presenting organization’s high-quality and diverse programming
and audience engagement activities.
o Description of professional artist(s) and/or faculty artist(s) that are proposed for the
project, including a clearly defined role for the artist in the project, the artist selection
process and artistic outcomes.
o Commitment, strategies and expectations for effective interdisciplinary collaboration
among partners drawn from the campus and external community.
o Strategies for engaging students (and millennial-aged members of the community) in
the project.
o A strong core management plan that supports and ensures the quality of the project
process (including contingencies in the case of the unexpected loss of artists, project
staff, or administration/faculty champions during the term of the project). The above
should include details of the process for the management of partners and for sustaining
an adequate level of effort and activities over time among all project participants.
o A strong evaluation approach that that identifies the focus, process, and resources to be
engaged in documenting and assessing project outcomes.
Indirect Costs
The following describes APAP guidelines for allowable indirect costs within grants. Indirect or
overhead costs are the institutional costs and services that support all of the work of the
grantee organization but which cannot be directly attributed to a particular funded project, for
example, rent, mortgage, support equipment, service departments such as general
administration, development or finance (costs that would exist to a large extent whether or not
the funded program existed). Note: APAP does do not allow institutional overhead charges to
be included in the indirect costs as part of a grant proposal.
The guideline for budgeting indirect costs is 12% of all the direct costs of the funded project,
whether the direct costs are incurred by the grantee or by a subcontractor of the grantee. In
other words, the 12% may be shared between the grantee and the subcontractor, but
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collectively the total indirect costs cannot exceed 12% of the direct costs of the project. A
grantee and subcontractor may agree to share the 12% with each collecting less than 12% of its
own direct costs. What cannot happen is for a subcontract that is included in the indirect costs
base of the grantee to also include 12% indirect (in other words, the indirect costs are charged
on indirect costs).
Suggested Resources
1. Placing the Arts at the Heart of the Creative Campus. A White Paper taking stock of the
Creative Campus Innovations grant program. Commissioned by the Association of Performing
Arts Presenters, with funding from the Doris Duke Charitable Foundation. Alan S. Broan and
Steven J. Tepper, Ph.D. October, 2012 [online at www.apap365.org ]
2. Caravanserai, a national initiative touring artists and films from Muslim societies to arts
presenters across the country. Arts Midwest. [online at www.caravanserai-arts.org ]
3. Muslim Voices. Multi-disciplinary, multi-venue festival. Brooklyn Academy of Music, Asia
Society, NYU. June, 2009 [online at www.muslimvoicesfestival.org ]
4. Takin’ it to the Streets festival and community-based performances. Inner City Muslim Action
Network, Chicago. [online at www.Streets2010.com ]
5. Center Stage. New England Foundation for the Arts. Resource for presenting artists from
other countries and possible performances by touring musicians from Muslim countries.
[online at www.nefa.org/grants_services/center_stage ]
6. Arabesque: Arts of the Arab World. The Kennedy Center. Resource for presenting artists from
across the Arab world; working with embassies.
[online at www.kennedy-center.org/programs/festivals/08-09/arabesque/ ]
About Us
The Association of Performing Arts Presenters (APAP), based in Washington DC, is a national
service and advocacy organization with nearly 2,000 members worldwide dedicated to bringing
artists and audiences together. Our members represent the nation’s leading performing arts
centers; municipal and university performance facilities, nonprofit performing arts centers,
culturally specific organizations, as well as artist agencies, managers, touring companies, and
national consulting practices that serve the field, and a growing roster of self-presenting artists.
A leader in the field, APAP works to effect change through advocacy, professional development,
resource sharing and civic engagement. For more information: www.apap365.org
The mission of the Doris Duke Charitable Foundation (DDCF) is to improve the quality of
people's lives through grants supporting the performing arts, wildlife conservation, medical
research and the prevention of child maltreatment, and through preservation of the cultural
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and environmental legacy of Doris Duke's properties. The mission of the foundation’s Arts
Program is to support artists with the creation and public performance of their work. For more
information: www.ddcf.org
Based in New York, the Doris Duke Foundation for Islamic Art (DDFIA), is one of three operating
foundations supported by the Doris Duke Charitable Foundation. The mission of DDFIA is to
improve the quality of people's lives through the study, understanding and appreciation of
Islamic arts and cultures. The Building Bridges Program is a national grant-making program of
the Doris Duke Foundation for Islamic Art with the mission to support national efforts to engage
U.S.-based Muslim and non-Muslim populations in arts or media arts-based experiences that
foster relationships, increase understanding and reduce bias between communities. Through
this approach, the program’s larger aim is to contribute toward a more just civil society and
greater well-being among peoples. For more information: www.ddcf.org/programs/buildingbridges.
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