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Community Anchors USA: Sustaining Religious Institutions, Social Clubs, and Small Businesses That Serve As Community Cultural Centers

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Community Anchors USA: Sustaining Religious Institutions, Social Clubs, and Small Businesses That Serve As Community Cultural Centers Community Anchors USA: Sustaining Religious Institutions, Social Clubs, and Small Businesses That Serve As Community Cultural Centers Molly Garfinkel City Lore This project was supported in part or in whole by an award from the Research: Art Works program at the National Endowment for the Arts: Grant# 17-3800-7006. The opinions expressed in this paper are those of the author(s) and do not represent the views of the Office of Research & Analysis or the National Endowment for the Arts. The NEA does not guarantee the accuracy or completeness of the information included in this report and is not responsible for any consequence of its use. 1 Table of Contents Executive Summary …………………………………………………………………………………………....3 The Place Matters Approach …………………………………………………………………………….....6 The Effects of Rapid Change ……………………………………………………………………………….7 Methodology ………………………………………………………………………………………………………9 Sustaining Community Anchors ………………………………………………………………………....11 Section I: Sustaining Sanctuaries in a Shifting Society a. Holy Cross-Immaculate Heart of Mary Parish, Chicago, I.L.……………...11 b. Zion Lutheran Church, Baltimore, M.D…………………………………………...19 c. Senshin Buddhist Temple, Los Angeles, C.A…………………………………....26 Section II: Supporting and Sustaining the Mission and Core a. MQVN CDC’s VEGGI Farmers Cooperative, New Orleans, L.A…………...38 b. Trickster Art Gallery, Schaumburg, I.L………………………………….………..44 c. National Cambodian Heritage Museum & Killing Fields Memorial, Chicago, I.L. ………………………………………………………………………………….51 Section IV: Legacy Businesses a. Lil’ Dizzy’s Café, New Orleans, L.A. ……………………………………………......62 b. Arch Social Club, Baltimore, M.D. …………………………………………………..68 c. Tonalli Studio, Los Angeles, C.A..……………………………………………………79 Section V: Catalyzing Cultural Competence a. Frente Indígena de Organizaciones Binacionales (FIOB), Los Angeles, C.A……………………………………………………………………………90 b. Guardians Institute, New Orleans, L.A……………………………………………98 c. Arabber Preservation Society, Baltimore, MD………………………………105 Next Steps………………………………………………………………………………………………………..117 Conclusion……………………………………………………………………………………………………….118 Acknowledgments……………………………………………………………………………………………119 Appendix: Community Anchors Issue Analysis 2 I. Executive Summary At a time of boom-and-bust development, artisanal pop-ups, and top-down gentrification, it is easy to forget the vital role that long-standing community anchors like social clubs, religious institutions, and small businesses play as arts centers. Many Americans experience and engage with the arts through multivalent performances, musical events, exhibitions, gatherings, and workshops organized and mounted by their local houses of worship, businesses, and social affiliations. Although the number of community-based arts and cultural institutions has increased throughout the United States since 2009, arts and culture philanthropy has paid scant attention to many of these grassroots sites, which serve as incubators for vibrant arts activity, including music, dance and visual arts, in local neighborhoods (Sidford and Frasz 2017:2). Fortunately however, many visionary leaders are using the arts to galvanize and empower immigrant and historically underreprestend communities across the nation. In 2015, with support from the Ford Foundation, City Lore’s Place Matters program launched an initiative called Community Anchors. Through this unique program, we documented, honored, and provided financial assistance to ten sites in all five boroughs of New York City. We were able to support their creative placemaking and arts initiatives, while at the same time learning about and exploring the broader issues faced by similar organizations that spur community activity through the arts. Community Anchors are often overlooked as an integral part of the city’s cultural scene by the philanthropic community, the media, and the public. In part this is because of an accepted, albeit limited and outdated, definition of art. For the most part, art forms such as spiritual music, traditional dance, storytelling, costume making, indigenous language, and foodways have not been considered worthy of significant support, while institutions and organizations that represent the more coventional arts canon, and those with budgets over $5 million, still receive the majority of support from contributions and grants. In the last several years, the distribution of arts funding has become less equitable, with nearly sixty percent of all contributed revenue channeled to only two percent of all cultural institutions in the U.S (up roughly five percentage points over a decade). At the same time funding to smaller groups has decreased, with only four percent of foundation arts support going to organizations whose primary mission is to serve communities of color (Sidford and Frasz 2017:5-7). To address this inequity, the Ford Foundation supported City Lore’s first Community Anchors initiative, which featured the following ten organizations: Casita Rincon Criollo: (http://www.placematters.net/node/1445), a Puerto Rican social club and musical heritage center located in a Bronx community garden. 3 El Maestro Boxing and Educational Center: (http://www.placematters.net/node/1917), an athletic and cultural center founded to keep Bronx-area youth out of gangs by providing boxing training and instilling a sense of pride in their cultural heritage. Federation of Black Cowboys: (http://www.placematters.net/node/1445), a not- for-profit social organization with community service and youth involvement as its primary goals. The Federation recently lost control of their long-standing city- owned stables, but is negotiating a contract with the equestrian organization taking their place. Terraza 7: (http://www.placematters.net/node/1919), an endangered and beloved Queens bar and music venue that provides space for artists from around the Latin America. Marjorie Eliot’s Jazz Parlor: (http://www.placematters.net/node/1911), a revered musician who invites the public to enjoy regular Sunday afternoon jazz sessions in her home. Sesame Flyers International: (http://www.placematters.net/node/1918), a pan- Caribbean social club and mas (masquerade) camp that provides social services to residents of Flatbush, Brooklyn, and serves as a mainstay in Brooklyn’s annual West Indian American Day Parade carnival. Radio Soleil: (http://www.placematters.net/node/1924), the trusted radio station of New York City’s Haitian community, providing progressive news and political commentary in Haitian Kreyòl, as well as Haitian musical programs, all of which help the community maintain ties to the homeland. African Immigrant Ministry: (https://placematters.net/census/detail.php?id=774), a community-based ministry providing Staten Island’s 8,000 Liberians and other West African communities with outreach in the areas of education, traditional art presentations, citizenship classes, and fellowship with others. American Sri Lanka Buddhist Association: (http://www.placematters.net/node/1920), a Buddhist Vihara offering weekly meditation classes and a children’s school in language and spirituality. The Vihara hosts a library, meeting rooms, an altar, outdoor/indoor presentation space, and several residential monks, as well as the Sri Lankan Dance Academy of New York, which trains young people and adults in traditional Sri Lankan drumming and Kandyan dance. Hindu Temple Society of North America: (http://www.placematters.net/node/1236), a nearly-40-year-old Hindu temple providing a place for prayer, and serving as a cultural and community center for Hindus from throughout the tri-state area. 4 In 2017, the National Endowment for the Arts Research Division awarded City Lore a grant to expand the Community Anchors research initiative to a national level, and this is the report resulting from that work. In our research we identified three core organizational typologies: religious institutions, social clubs, and small businesses, which, in turn, represent the three main pillars of community life: the spiritual, the social, and the economic. Each of the twelve Community Anchors we explored for this study have culture and arts at the core of their incredible community-based work, and have developed robust mission statements, dedicated audiences, and numerous innovative strategies for fundraising. However, they often struggle with the priorities and requirements established by foundations and other funding agencies, or have fallen off of the cultural philanthropy radar altogether. In this research we have sought to better understand the cause and nature of challenges faced by these groups: those directly related to philanthropic support as well as issues related to their overall sustainability. We then go on to make field-wide recommendations for overcoming them. The in-depth primary field research was conducted in four cities: Baltimore Zion Lutheran Church: http://www.zionbaltimore.org/, a long-standing German- American church and community center. The Arabber Preservation Society: http://www.arabbers.com/, a non-profit social club that promotes and preserves the historically African American trade of arabbing, or horse-cart produce vending. Arch Social Club: www.archsocialclub.com, a century-old African American men’s club that is now at the center of a newly-designated Maryland State Arts and Heritage District. Los Angeles Senshin Buddhist Temple: www.senshintemple.org, a Japanese Buddhist temple responsible for the national revival of taiko drumming and gagaku orchestra. Frente Indígena de Oaxaqueño Binacional [FIOB]: http://fiob.org/en/,
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