ARTISTIC SUPPORT MATERIALS

Support materials are essential to your application. Applicants must submit support materials as required by program guidelines. Although you are required to send other materials as well, (narrative, budget, etc.) the success of your application depends, above all, on the quality of the work samples submitted. The most important element determining impact is your project's artistic quality.

Send only high quality materials that best represent the work you are proposing in your application. Weak support materials detract from work that may be strong on its own merit. Panelists often struggle to determine what is being presented. Put yourself in their shoes-- they may review many applications in one day and have very limited time to review each one - perhaps as little as 3-5 minutes.

Your work needs to be clearly presented and explained, and make a strong and positive impression.
Be sure the materials you submit are closely related to the type of work you are proposing in your application. Read the appropriate discipline sections below to determine what you are required to submit.

Recommendations:

All applicants should:

• Cue all video tapes to the section you wish reviewed;
• Indicate which tracks to listen to on a CD;
• Indicate which scene or portion of the DVD you want viewed (If you are unable to do this, we suggest making a separate edited version of the DVD that will play the strongest 3-8 minutes of your work to include with the full version).
• Submit recent work (i.e. created in the last three years). If you choose to submit samples of older work because it is more relevant to your project, be sure to explain why you are sending the older work samples.;
• Include a list clearly identifying the contents of works on video, CD/DVD, jpegs, etc.;
• Be sure materials submitted are representative of the work of the artist(s) involved;
• Label all work(s) with artist contact information (see Return of Support Materials below);
• For collaborations between two or more artists or group applications, submit examples of the work of up to three artists involved.

Helpful Hints:

• Be sure that audio and video tapes do not contain background noise and tape hiss and have been viewed before submission;
• For digital images, work should be saved in JPEG format (".jpg") at a high quality (60% - 80%) with a file size of no more than 1 megabyte each. JPEG files should be saved using the applicant name and image number;
• Let an impartial peer review your materials before you submit them.

Return of Support Materials

If you would like tapes, compact discs, DVD's, musical scores etc. returned, include a self-addressed stamped (not metered) envelope (SASE). Generally, materials will not be returned until after notification. The Council retains attachments such as program books, brochures, and other printed items submitted with applications. Materials submitted without labels providing artist contact information will not be returned.

REQUIREMENTS by Discipline

• Computer Arts: Please contact the Council staff for submission requirements.
  
   
• Dance:
  • Dance includes choreography and performances in ballet, modern, jazz, tap, and traditional dance.
  • Applicants should submit no more than two complete works on VHS video cassette or DVD, clearly labeled with the names of the performers, title, date, duration, choreographer of each work, and date and location of taping. Sometimes the beginning is not the strongest section, so you may cue to the section(s) you want reviewed.
    
     
• Design Arts:
  • Design Arts includes architecture, landscape architecture, product design, graphic design, urban design, historic preservation and community planning.
  • Applicants should submit no more than nine digital images of work in which they were directly involved and must provide information describing the project(s) and the applicant's artistic role.
  • Designers may submit documentation of work that has been produced or constructed as well as drawings or proposals for work that has not been done yet.
  • In addition, designers may submit clearly identified blueprints or specs.
    
     
• Festivals:
  • Festivals do not need to submit support materials for all artists.
  • Submit support materials for no more than two or three key artists, include a list of other artists to be presented, and the program book from your previous year.
    
     
• Interdisciplinary:
  • Interdisciplinary includes work in any two or more disciplines that are combined to create a single work. The collaborative work creates one piece.
  • Applicants should submit appropriate forms of documentation to describe and represent the various combinations of artistic disciplines included in your work. For example, an artists who includes photography and text in a book should submit jpegs of the photographic work along with a writing sample. Please contact the Council for submission suggestions.
    
     
• Literature:
  • Literature includes poetry, fiction and non-fiction.
  • The non-fiction category includes work in a variety of creative forms such as: essays, memoirs, criticism, journalism, autobiography, and experimental.
  • Playwrights should apply in the Theater Arts category.
  • Screenplay writers should apply in the Media Arts category. Note: Manuscripts submitted will not be returned but will be recycled.
  • Applicants should submit nine (9) copies of up to ten pages in poetry, fiction or essays. All manuscripts must be copied double-sided, typescript, double-spaced with the exception of poetry which may be single-spaced. Typescript means material produced by a typewriter or a letter quality printer. If work is not complete, indicate this.
  • In addition, a brief outline and description of a longer work may be included.
  • Clear photocopies are acceptable.
  • All pages should be 8½" x 11".
  • Number the pages of your manuscript and label with your name and title of the work. Please 3-hole punch and assemble with clips (no staples).
    
     
• Media Arts:
  • Media Arts include audio, film, radio, and video. Screenplays should also be submitted under this category.
  • Applicants should submit no more than two complete works on separate VHS video cassette/DVD or audio tape/CD.
  • Tapes should be cued to the section(s) you want reviewed. Clearly label all cassettes and all boxes with the artist's name, title of work, original format, date of completion, length, black-and-white or color, and production credits, including the artist's role in the production.
  • Indicate if your video has sound.
  • Promotional tapes are not recommended.
  • Screenplay writers should submit nine (9) copies of no more than 10-15 pages of work in screenplay format. If work is not complete, indicate this.
  • In addition, a brief outline and description of a longer work may be included.
  • All pages should be 8½" x11".
  • Number the pages. Please 3-hole punch and assemble with clips (no staples). Screenplays will not be returned but will be recycled.
    
     
• Music:
  • The Music category includes performance and composition in classical, traditional, folk, choral, jazz, contemporary, experimental, and popular music, as well as opera and musical theater.
  • Applicants should submit no more than two complete works on compact disc, audio, or video cassettes, or DVD clearly labeled with the names of composers and performers, instruments (voice or otherwise), titles of works, duration of each work, and date of composition and recording.
  • Tapes should be cued to the section you want reviewed.
  • For compact discs, indicate the selections you want reviewed. Records (LPs) and DAT tapes cannot be accepted.
  • In addition, composers should submit single copies of corresponding scores or, where appropriate (e.g. jazz/extended forms), fully harmonized lead sheets of up to 15 pages. Scores should be titled and orchestrated, and include the date of composition. For compositions for which there is no score or lead sheets, send a description of the equipment and techniques used. In improvisational compositions where the composer is also performing, identify the instrument played by the composer.
    
     
• Theater Arts:
  • Theater Arts includes playwriting, production and performances in classical and experimental theater, mime, puppetry, storytelling and theater for young audiences.
  • Applicants should submit up to two complete works on a VHS video cassette or DVD of recent work, clearly labeled with the name of the performers, title and creator of the work, duration of each work and date of taping.
  • Tapes should be cued to the section you want reviewed.
  • Playwrights should submit nine (9) copies of no more than 10-15 pages of a script or play, double-sided, typescript, double-spaced, with completion date indicated. Typescript means material produced by a typewriter or a letter quality printer. If work is not complete, indicate this. Scripts will not be returned but will be recycled.
  • In addition, a brief outline and description of a longer work may be included.
  • All pages should be 8½" x 11".
  • Number the pages of your script. Please 3-hole punch and staple in the top left corner.
    
     
• Visual Arts:
  • Visual Arts includes drawing, painting, printmaking, sculpture, photography, holography, crafts and mixed-media.
  • Applicants should submit no more than nine digital images (JPEG) on a CD-ROM.
  • CDs should include a list clearly identifying each file, including title, medium, size or scale, materials, and date of completion. File names should correspond to the titles you have listed. CDs should be labeled directly on the CD itself (not the case) with applicant name.
  • Artists who are submitting images of kinetic sculpture may supplement their application with a one-minute videotape or DVD of kinetic work.

Evaluation/Assessment Tips

Evaluation begins with goals or why you are doing an activity, and measures outcomes or benefits for individuals after participating in program activities. How to measure goals will vary with your population and degree of control. Think about what information can best inform you about whether your activity succeeded or not. Don’t forget to ask the people you are claiming to benefit, your audience, students, artists, teachers, parents, as well as local businesses and volunteers.

• Surveys with questions that will give you information about whether you achieved your goal. When putting on a play that teaches about the value of diversity, measure attitude change; whether the audience enjoyed the performance may be relevant, but it will not measure whether the activity had the desired effect. If a festival is supposed to have economic benefit to the community, you might want to know whether participants spent money in the community and how much, whether they stayed in a local inn and ate at local restaurants, went shopping, etc.
• Student or participant journals can measure attitude change, growth, reflection.
• Numbers of audience or workshop attendees, etc. are useful, but extremely limited.
• Rubrics can describe objectives and then measure the students progress towards mastery on a scale that looks like this:
  
  1. Always. Often. Sometimes. Rarely
  2. Got there. On the Road. Needs a Jump. Stalled
  
  It can also describe how the progress might look, as in:
  
  1. Learner can catch a fish independently.
  2. Learner can bait hook and cast, but not reel in.
  3. Learner can bait hook but not cast or reel in.
  4. Learner sits on the dock looking hungry.
  
   
• Focus groups, a gathering of participants to share their experiences.
• Before and after video to identify skills acquisition, student cooperation, or enthusiasm.
• Teacher or administrator reports
• Anecdotal stories that tell about individual changes or benefits

Evaluation will be easer when you use a community or student centered approach, and begin with the effect you want to have, sometimes called “backward planning”. The sequence of evens that usually occur is:

1. What do I want to do?
2. How will I do it?
3. What activities will we have?
4. How will I assess the performance or activities?

Instead try “backward planning”–

1. How do you want your audience to benefit? What are the desired results? What should students know, understand, and be able to do?
2. What program or skills are most likely to help students or the community reach this goal?
3. Determine acceptable evidence – How will I know if my project or lesson has achieved the desired ends?
4. Then plan the learning experience, instruction, project, artists, etc?

When submitting your applications, send in samples along with survey results if you have used surveys in the past; if not, send a sample of the sort of survey you anticipate using. Or send in excerpts from teacher observations, student journals, or focus group comments.

Creation Projects – Evaluation tips for artists

When evaluating your project, artists can use similar tools as those mentioned above. Be sure you state goals that are measurable in some way. Goals that are so broad reaching that they are difficult to measure should be avoided, such as “I hope the creation and exhibit of this work will lead to world peace.” A goal stated in this way would be extremely difficult if not impossible to measure. You might try restating the goal in this way ”I hope the creation & exhibition of this work will lead to a greater awareness by the viewers of the need for peaceful resolutions to problems.” This could be measured by a questionnaire left in the gallery for the viewers to fill out and leave for you. Other examples of goals that are measurable might include personal career goals such as “I hope to acquire at least one positive review of this work in the local paper” or “l hope the completion of the work and the promotional efforts will lead to at least two more performances in Vermont or New England venues”. You can measure these goals on your own and you will know if you’ve been successful or not.

General Questions:

1. Is the deadline a postmark deadline?
2. My project could fit into a couple of different Opportunity grant categories. How do I decide in which category to apply?
3. Do I have to match my grant with other funding sources in addition to applicant cash?
4. What are in-kind contributions and how do I calculate them?
5. What if my project begins and/or ends after the grant period?
6. Why is the grant period so short for some of the later deadlines?
7. My organization is in the process of obtaining a 501(c)(3) designation. Do I need a fiscal agent?
8. How do I find a fiscal agent?
9. Can I apply in more than one Opportunity Grant Category?
10. How are applications evaluated and/or reviewed?
11. Can I reapply if my grant proposal is not successful?

ANSWERS:

Creation Grant Questions:

1. How do you define a project? Does this refer to a stand-alone piece, a specific series, or work designated for a specific venue?
2. What do you mean by collaborators or artist groups?
3. What if I’m no good at writing about my work?
4. How do I calculate my time as a “cash expense”?
5. How important are the artistic support materials? I’m not sure if the sample I have is very good. Should I submit it anyway?

1. Is the deadline a postmark deadline?
   Yes. We do not need to receive it in our office by the deadline indicated. You are welcome to deliver your application to our office before 4:30 p.m. on the deadline, but a postmarked application will be fine. We suggest you watch the postmaster postmark the package when you deliver it to the post office to be sure it gets the correct date stamped on it. We cannot be responsible for applications with incorrect date stamps or applications lost in transit.
   
    
2. My project could fit into a couple of different Opportunity grant categories. How do I decide in which category to apply?
   We regularly see a number of projects that could fit into many categories. Often it is just a matter of what focus your proposal should take in order to compete most successfully. For example, a local arts organization wants to hire a poet to work with local community groups on the creation of poetry about the history of their town. The artist will be in residence in the community for two weeks culminating in a community poetry slam at the local high school. This project involves the creation of work, the presentation of work, and education. In examples like this, we suggest contacting the Council for recommendations on which category to apply. However, as an example, this project would probably compete most successfully in the Presentation Standard Grant category. We would suggest that the applicant focus on the community engagement and interaction with the artists in their proposal. (In Creation the panel would be looking more carefully at the quality of the artwork completed rather than the artistic process and in Education the panel would be looking at how closely this project links to school curriculum.)
   
    
3. Do I have to match my grant with other funding sources in addition to applicant cash?
   All Council grants require a 1:1 cash match. Matching your grant with your own funds (applicant cash) is fine in any category. Although in-kind contributions can not be considered as part of the matching funds, panelists will often comment positively on applications which have nominal outside support that also list in-kind contributions to demonstrate strong community support for the project. When applying for a Creation Standard Project Grant it is generally fine to have applicant cash/matching time as your only matching source.
   
    
4. What are in-kind contributions and how do I calculate them?
   In-kind contributions are calculated as the fair market dollar value of non-cash contributions to the project/program that are provided to applicant by volunteers or outside parties at no cash cost to applicant. Volunteer time is calculated at minimum wage unless the volunteer is donating services that s/he provides as part of his/her profession, in which case time is calculated at that person’s professional rate. Donated materials should be calculated at fair market value. Only donated items that are directly involved in the project/programs described in the application should be included. Items or services unrelated to the project or program, even though received by the applicant, are not eligible. In-kind contributions must be well-documented. Examples might include a local printer who donates the paper and printing for your program, or a hotel that donates a room for an artist. In-kind contributions can not be considered as part of the matching funds unless you are applying as serving an Underserved Constitutent.
   
    
5. What if my project begins and/or ends after the grant period?
   It’s okay if your project begins or ends after the end date. However, be very clear in your narrative and in your budget about the activities that will take place during the grant period. The Council grant can only support activities that happen during this period.
   
    
6. Why is the grant period so short for some of the later deadlines?
   The Council needs to report on it’s activities to it’s funding sources within a specific time frame, just as you do. We have a finite period in which we must make grant awards and receive reports on the funded activities. Our grant period ends on the 31st of August in any grant year. Therefore, if you wait until a later deadline to apply, you will have a shorter amount of time to complete the activities.
   
    
7. My organization is in the process of obtaining a 501(c)(3) designation. Do I need a fiscal agent?
   Even if you have submitted all the paperwork and are just waiting to hear from official sources about your not-for-profit status, we recommend finding a fiscal agent. The process for receiving a not-for-profit designation and the official letter to go with it can take a very long time. If you receive your letter before the Council creates a grant contract for your project, you can send it to us and we’ll be happy to make the change.
   
    
8. How do I find a fiscal agent?
   Typically, fiscal agents are cultural institutions, such as presenters, community arts centers, arts councils, performing and visual arts organizations, government agencies, historical societies, museums, and not-for-profit galleries. The fiscal agent becomes the legal applicant of record, redistributes the funds to the intended recipient, and is entirely responsible for all published requirements of the grants program. You should contact an organization near you and ask if they are willing to function in this capacity. Each organization may have it’s own policies regarding their ability to provide this service to artists and arts organizations. Organizations and individuals seeking a fiscal agent may contact the Council for possible recommendations.
   
    
9. Can I apply in more than one Opportunity Grant Category?
   No. Due to our limited funding, you are only allowed to submit one application at any particular deadline. You may receive only one Opportunity Grant in a grant year. For example if you want to apply for Presentation Standard Grant as well as an Education Standard Grant you would have to pick one and submit a proposal in that category. There are two exceptions to this: 1) In the Presentation category, applicants may apply for a Technical Assistance/Travel grant in addition to the Standard Project Grant. 2) In the Creation category, if an artist receives a Standard Grant, s/he will have to wait for two more grant years before s/he can apply in this category again. However, artists can apply for Artist Development funds in the next grant year.
   
    
10. How are applications evaluated and/or reviewed?
    Applications are reviewed by a multi-disciplinary, multi-experienced group of peer panelists. Be sure to write your application for an audience who may or may not be familiar with specific artistic techniques or disciplines and who may or may not be familiar with you, your organization, your school, or your community.
    
     
11. Can I reapply if my grant proposal is not successful?
    Yes. You may reapply at the next available deadline. We take notes during our panel meetings and will share the panelist comments with you if you would like to hear them. Often they will have suggestions as to how you can improve your application. We have new panelists for each deadline so if your proposal was not successful with one group, another may have a completely different reaction to it. In particular comments about the artistic quality of an application will vary as this is the most subjective part of the review.

CREATION CATEGORY QUESTIONS

1. How do you define a project? Does this refer to a stand-alone piece, a specific series, or work designated for a specific venue?
   It may mean all of the above, however please be clear about your descriptions of the work. Projects should have a discernable, defined beginning and end. Projects where artists have requested funds to “create work” during the grant period, but who are not specific about what they want to create, generally do not compete well in the panel process. It’s often good to think about the “so what?” test. Why is this work important to you, your career, or your community?
   
    
2. What do you mean by collaborators or artist groups?
   For the purposes of the Creation Standard grants, the Council defines “collaborators” or “artist groups” as artists who are considered co-owners of the project or the work. If the collaborators or artist groups will be co-owners of the project, we recommend that you find a fiscal agent for your project. If you are an artist who is submitting an application in which you have someone who is working with you on a “work for hire” basis and you will own the work when it is done, you may apply directly. Just remember that we will send a 1099 to the you if you receive a grant of more than $600 and you will need to report it on your income taxes.
   
    
3. What if I’m no good at writing about my work?
   Don’t worry too much about writing the “perfect” proposal – there’s no such thing. However, you should be sure and answer all the questions and articulate your ideas clearly. Ask a colleague to review your preliminary application for clarity and completeness. If you use descriptions of your work that were written by others (i.e., articles, reviews, catalogue descriptions) please cite your sources.
   
    
4. How do I calculate my time as a “cash expense”?
   There are many ways in which you can do this. You should begin by estimating the number of hours you expect to work on your project during the grant period. You can then multiply this by a “per hour” figure to come up with the dollar amount value on your time. The Council does not dictate what this amount should be, but we have seen amounts ranging from $10

Promotion/Publicity Tips

Success with media is dependent on building good working relationships with the people who control and contribute to what gets attention. The more you can relate your story to the wider interests of the community the more effective your efforts will be. Remember amiable persistence will pay off over time.

1. Print Media (Newspapers, Magazines, Newsletters)
   
   
   • Calendar Listings must be brief (100 words or less), double spaced, and sent at least two weeks in advance of the event.
   • Press Releases should tell a more complete story, be one page, single spaced, and include quotes and pictures whenever possible.
   • To place a story get to know the various reporters, look for hooks or angles to pitch your story, and call or write to tell them about the activity and ask if they will cover it.
     
      
2. Electronic Media (Television, Radio, Cable)
   
   
   • Volunteer to be interviewed for community affairs programs.
   • Contact specific program managers and arrange for your artist to perform and be interviewed.
   • Calendar Listings must be brief (30 seconds). You might also arrange with the radio station to produce your own.
     
      
3. Personal Contacts and Other
   
   
   • Letters and invitations – colored postcards with a photo and description get attention.
   • Personalized email.
   • Telephone and other person to person conversations.
   • If you have a literature-based event, perhaps the library or bookstore can feature the book.
   • Community Posters should be easy to see and read from a distance.
   • Personally invite your State Legislators, Selectmen, and other community leaders to your event.

Always follow up anything you send with a phone call within 48 hours. Ask if they received what you sent and ask if they need any other information. Always convey thanks when you receive coverage.

Even if the desired result of your events may not be a large attendance, or financial success, it is still important for your community to know about your programs. As funding becomes scarce, and communities are faced with difficult priorities, it is important to let the community know that who supported your events, residencies, or work: the Vermont Arts Council, the National Endowment for the Arts, local businesses, or municipality, etc. Even if you don’t want people to attend, don’t have room, or the population you are serving would not benefit from observers, tell the public about your event and what it achieved after the fact with a newspaper article, radio or TV report.

And finally, when writing your application, don’t simply say we are sending out press releases, list some of the newspapers, magazines, radio or TV stations to which you expect to send information or advertising. If you are making posters and flyers, or doing paid advertising be sure your budget reflects those expenses or explain how they will happen in-kind or in trade.

1. A property will be used as it was historically, or be given a new use that requires minimal change to its distinctive materials, features, spaces, and spatial relationships.
    
2. The historic character of a property will be retained and preserved. The removal of distinctive materials or alteration of features, spaces, and spatial relationships that characterize a property will be avoided.
    
3. Each property will be recognized as a physical record of its time, place, and use. Changes that create a false sense of historical development, such as adding conjectural features or elements from other historic properties, will not be undertaken.
    
4. Changes to a property that have acquired historic significance in their own right will be retained and preserved.
    
5. Distinctive materials, finishes, and construction techniques or examples of craftsmanship that characterize a property will be preserved.
    
6. Deteriorated historic features will be repaired rather than replaced. Where the severity of deterioration requires replacement of a distinctive feature, the new feature will match the old in design, color, texture, and, where possible, materials. Replacement of missing features will be substantiated by documentary and physical evidence.
    
7. Chemical or physical treatments, if appropriate, will be undertaken using the gentlest means possible. Treatments that cause damage to historic materials will not be used.
    
8. Archeological resources will be protected and preserved in place. If such resources must be disturbed, mitigation measures shall be undertaken.
    
9. New additions, exterior alterations, or related new construction will not destroy historic materials, features, and spatial relationships that characterize the property. The new work shall be differentiated from the old and will be compatible with the historic materials, features, size, scale and proportion and massing to protect the integrity of the property and its environment.
    
10. New additions and adjacent or related new construction will be undertaken in such a manner that, if removed in the future, the essential form and integrity of the historic property and its environment would be unimpaired.

Source:  VT Secretary of the Interior's Office