PALACE OF FINE ARTS May 22, 2015 Center for World Arts and Cultures Concept Proposal submitted by Palace of Fine Arts Foundation / World Arts West

Photo by Jill Clardy, via flickr … in the Panama-Pacific International Exposition “ is expressed the life of the people of California. Bernard Maybeck”

PALACE OF FINE ARTS Center for World Arts and Cultures Response to the City of San Francisco Recreation and Park Department’s Request for Concept Proposals

TABLE OF CONTENTS Cover Letter Concept Project Summary 1. Use Description of proposed use for the site Description of public access to the site How the project meets a “recreational purpose” 2. Description of proposed improvements to the building including the Required Improvements San Francisco Ethnic Dance Festival Photos by RJ Muna and tenant improvements 3. Description of how the project would compliment and link to the surrounding uses in the area 4. Description of how the project will mitigate parking, traffic and noise issues to the surround- ing neighborhood 5. Description of how the project will enhance the visitor’s experience to the site and surround- ing park property 6. How the proposal meets or exceeds the Department’s Goals and Objectives 7. How the Palace of Fine Arts Building will be protected and preserved Financial Summary (3A as required); Details Under Separate Cover Addenda: World Arts West and Palace of Fine Arts Theatre Artist Lists Testimonial Support

Palace of Fine Arts Foundation / World Arts West Center for World Arts and Cultures Cover Letter

May 22, 2015 history. A well-equipped set of facilities will also succeed in attracting large-scale or leading-edge art that is now missing from San Francisco’s Cassandra Costello cultural calendar. Major artists will find here the lighting equipment and Property Manager rigging, audio, and other support they need for their production ideas. San Francisco Recreation and Parks Department Via email to: [email protected] The Center will feature these major elements: • The Palace of Fine Arts Theatre, presenting the finest RE: Response to Palace of Fine Arts Request for Concept Proposals internationalperformances, including the celebrated San Francisco Dear Ms. Costello and Advisory/Selection Committee: Ethnic Dance Festival and a new Palace Presents series. • An Exhibition Pavilion for large-scale performance and visual art and World Arts West and the Palace of Fine Arts Foundation are pleased events. to submit a Response to the Request for Concept Proposals to hold the • Fully-equipped Rehearsal Studios, including an Arts Technology Lab. master lease for the Palace of Fine Arts. This cover letter and our Concept • An International Cuisines Pavilion. Proposal set forth our plans for the public use of and improvements to this matchless site in a manner that harmonizes with Bernard Maybeck’s A freshly re-imagined Palace of Fine Arts will draw us to see, hear, and original vision and the building’s original purpose of showcasing world arts taste the world. and cultures. A new Palace of Fine Arts Foundationwill hold the master lease for the In his personal essay about the architecture of the 1915 World’s Fair, Palace of Fine Arts. The Foundation will restore, preserve, and program Bernard Maybeck wrote: “… in the Panama-Pacific International Exposi- the building for international arts and cultural experiences and public tion is expressed the life of the people of California.” Today, the diversity enjoyment. of the Bay Area has multiplied beyond anything that Maybeck might have imagined. To continue the Fair’s and Maybeck’s spirit — to express the life The mission of the Foundation will be to connect the broadest possible of California to the world and the world to California — World Arts West, public with the full range of our region’s cultural expressions and interests producer of the celebrated San Francisco Ethnic Dance Festival, and the through a Center for Global Arts and Cultures. The Palace of Fine Arts Palace of Fine Arts Foundationjointly propose a Center for Global Arts Foundation will curate and present public events in the Theatre, Pavilions, and Cultures at the Palace of Fine Arts. and other spaces as well as make those spaces available for private rental in a manner consistent with models of best business practices. The Center will be operated under the auspices of a new non-profit organization, The Palace of Fine Arts Foundation,which will enter into a Our project team includes strong, tested leaders. The project is led by Master Lease with the San Francisco Recreation and Park Department to Robert W. Cole, formerly Executive Director of Cal Performances, who restore, preserve, and program the entire building for cultural uses and for will become the new Artistic and Executive Director of the Palace of Fine the public’s enjoyment. The Palace of Fine Arts Foundation will work with Arts Foundation; Julie Mushet, Executive Director of World Arts West; and World Arts West as a key anchor partner. Mark Heiser, newly installed at the Palace of Fine Arts League as Man- aging Director, who comes from twelve years in that position at Lincoln Our partnership is the region’s best choice to keep the entire, Center; and Eddie Orton, President of Orton Development, Inc. incomparable Palace of Fine Arts in vibrant use for the general public. We will integrate the iconic exterior with offerings that showcase our Other key team leaders include: Alice Waters , Nabih Youssef, John extremely diverse region’s global interests, arts, cultures, traditions, and Meyer, Marilyn Bancel, Sheila Lewis, Mahealani Uchiyama, Kary Schul- 3 inspirations for performance and visual art, cuisine, architecture, and man, and Laura Hitchcock. Leadership Team

Robert W. Cole Julie Mushet Mark Heiser J.R. “Eddie” Orton III Artistic and Executive Director Executive Director Managing Director, President, Orton Development, Inc. Palace of Fine Arts Foundation World Arts West; Palace of Fine Arts League; Project Advisor Director of Local Artist Program Managing Director Palace of Fine Arts Foundation Palace of Fine Arts Foundation Orton Development, Inc. Palace of Fine Arts League, Inc. Established 1984 The 501 (c)(3) Palace of Fine Arts World Arts West, Inc. Foundation to be Established Established 1957 Established 1978 1475 Powell Street, Suite 101 rwcole415(at)gmail.com Fort Mason Center, Bldg. D 3600 Lyon Street Emeryville, CA 94611 510-301-2069 2 Marina Blvd., San FranciscoCA 94123 San Francisco, CA 94123 eo(at)ortondevelopment.com Robert Cole is one of the most ureliusweb(at)gmail.com 510-428-0800 esteemed executives in the Julie(at)worldartswest.org 646-320-1723 performing arts and venue industry. 415-474-3925 Mark Heiser returns to San Francisco With more than 30 years From 1986 – 2009, Mr. Cole was Julie Mushet has led World from his position as Managing Director as a commercial real estate Director of Cal Performances Arts West since 2002 as part of The New York State Theatre at Lincoln developer focused on historic, at the University of California, of a distinguished 20-year arts Center for the Performing Arts, Inc. environmentally, seismically Berkeley. He is General Director of management career. She has (renamed the David H. Koch Theatre or obsolescence-challenged the Berkeley Festival & Exhibition travelled the world extensively in 2008). He was responsible for the properties, Eddie Orton has from 1990 to present. In 2010, he and has studied and performed management and operation of the been personally responsible joined the Green Music Center at diverse dance forms. Theatre, which is the resident home for the redevelopment and California’s Sonoma State University of the New York City Ballet and is now repositioning of close to eighty as Director of Artistic Planning and She is a sought-after resource recognized as New York’s premier venue projects in several states, Administration. for consultation and referral for dance. totaling approximately twenty regarding the Bay Area’s From 1993-2003 Mark was General million square feet. Presently, Mr. Cole is also a renowned diverse dance community, with Manager of Cal Performances at the Orton Development Inc. (ODI) is conductor, having worked with relationships reaching beyond University of California, Berkeley. He rehabbing the 20th Street leading U.S. and European orchestras, 450 dance companies that she is one of the nation’s most respected Historic Buildings at Pier 70 in opera and dance companies. He is a works with as part of her life’s theater professionals. San Francisco. UC Fellow and a Chevalier de l’Ordre work. She is the 2015 recipient des Arts et des Lettres. of an Isadora Duncan Dance Relevant experience: As Managing Director, Mark was the Owner’s Representative in two major capital improvement projects at the David H. Koch Theater at Lincoln Center, formerly the New Relevant experience includes Award (Izzy) for Sustained York State Theater. His role included management and oversight of the financing, logistics, and Renovation of Zellerbach Hall at Achievement. scheduling of the projects, as well as general day to day oversight on construction. UC Berkeley. $15 million capital A major renovation of the 200,000 square foot theatre beginning in 2008 included the The 10,000+ Bay Area dances replacement of the auditorium seating, installation of a movable orchestra pit, improvements campaign. As E.D. of to the auditorium acoustics, the complete renovation of the lobby restrooms, replacement of that she works with are Cal Performances 1986-2009. carpet, wall coverings and other fixtures in the lobby, the installation of a new state of the art sustaining the historic cultural theatrical lighting system, renovation of the dressing rooms, and the replacement of the HVAC Major historic restoration of traditions from over 100 world supply and return systems. Thetotal project cost was $125MM. the Bardavan Opera House, After the departure of the New York City Opera in 2011, Mark was also Owner’s Representative cultures, may with ties to the Poughkeepsie, New York as in the oversight of the $15MM renovation of approximately 15,000 square feet. The San Francisco Consular Corp. project included the conversion of former office space into a multipurpose conference and Executive Director 1979-1983. entertainment space, office space, and the conversion of vocal rehearsal halls into full rehearsal 4 studios suitable for ballet and other dance companies. Leadership Team

Relevant Expereince: Orton Development Inc. (ODI) specializes in large-scale rehabilitation and redevelopment projects. Over the last thirty years, ODI has redeveloped over twenty million square feet spanning over eighty projects including office, industrial, research and development, loft, warehouse, museum and event space. ODI manages all aspects of the redevelopment process including zoning, environmental, design, construction, and marketing.

ODI creates and relies on long-term relationships and its sterling reputation in the industry to negotiate good deals and receive great service from local providers. ODI believes in old-fashioned values and integrity; it offers a small core team — the people you see are the people you get — of dedicated, hands-on makers, with a combined experience at ODI nearing 100 years.

We create value with world-class design to counter vacancy, urban blight, environmental damage, structural challenges, and functional obsolescence, with a specialty in repositioning historic properties. ODI projects create numerous local jobs, both during the construction process and upon completion. Ultimately, the projects attract premier tenants with deftly designed, highly efficient workplaces that result in great productivity at competitive rents.

Please visit www.ortondevelopment.com for a representative portfolio.

Pictured left are before and after images of the redevelopment project at Ford Point. Orton Development, Inc. was awarded the 2011 American Institute of Architects (AIA) National Honor Award for Architecture for its work rehabilitating Ford Point with Marcy Wong Donn Logan Architects, as well as the 2009 California Preservation Foundation Preservation Design Award for Sustainability and the 2008 National Trust for Historic Preservation Honor Award, among others.

Product Type development Disposition Agreement with City of Richmond Date 2005-2008 Size Approximately 525,000 square feet Cost Approximately $50,000,000 Location Richmond, CA Relevant work performed: - 100,000 ft2 exterior surface repair; - 6,000 new/repaired skylights; 40,000 new/repaired windows; - management of asbestos siding and cleanup including PCBs; 5 - rebuilding of the entire utilities - infrastructure; complete seismic upgrade Leadership Team

Alice Waters Nabih Youssef Marilyn Bancel Sheila Lewis John Meyer Michael “Mickey” Owner/Founder Chez Nabih Youssef Associates Principal, The Oram Group, CEO and Ashton Navigator CEO, Meyer Sound Luckoff Panisse Structural Engineers Inc. Ashton212 Sound & Technical President of Board Of International Cuisine Project Advisor Fundraising Advisor & Marketing Advisor & Advisor Directors Advisor • Consulting Consulting • Palace of Fine Arts League • Nabih Youssef Associates, • • Berkeley-based Meyer • Alice Waters is the founded in 1989, is an Ms. Bancel heads the A rare combination of Sound is devoted to Mickey Luckoff served as force behind the fresh internationally recognized west coast office of a analytical and creative, creating and supporting President and General food movement and structural engineering national consulting firm, Ms.Lewis’s early high-quality products Manager of KGO/ sustainable California firm providing specialized established in New York, marketing career included for sound reinforcement San Francisco for over cuisine. She is author structural and earthquake NY in 1939. With New firms such as Quaker Oats and recording, designed 30 years. Under his and co­author of several engineering consulting York partner, Henry and Visa International. to meet the real leadership, KGO was books, including The Chez for new and existing Goldstein, the firm helps After 15 years, she challenges faced by audio known for a commitment Panisse Menu Cookbook buildings. Mr. Youssef nonprofit organizations founded her own practitioners. Today, to local programming and and the encyclopedic famously pioneered the across the country consultancy, Flyin’ West, the company’s history to providing relevant, Chez Panisse Vegetables . use of “base isolation” to prepare for and conduct a strategic marketing firm shows a track record She has also received protect structures from compelling news coverage major fundraising and with satisfied clients from of more than 30 years numerous prestigious seismic events. The firm’s and talk. He served on the capital campaigns. Ms. coast to coast. of innovation, quality, awards, including being many historic landmarks Board of Directors of the named one of the ten projects include such Bancel’s step-by-step Recently she co-founded performance and support. National Association of best chefs in the world by structures as the UCLA workbook Preparing Your Ashton212 to bring her Broadcasters and is a two- the magazine Cuisine et Geffen Playhouse, UCLA Capital Campaign (Wiley, team-building skills to a John and Helen Meyer term past president of the Vins du France; the Best historic core, Los Angeles 2000) is a staple of the staffing services company. have been personally California Broadcasters Chef in America, Best City Hall, and Los Angeles field. In 2002 Ms. Bancel Lewis is a sought-after involved with the Association. He was Restaurant in America, Memorial Coliseum. was named Hank Rosso speaker on a range of performing arts for years, inducted into the Radio and Humanitarian of the Other projects include Outstanding Fundraising business and nonprofit which has given them Hall of Fame in 2008. Year awards from the the J. Paul Getty Museum Executive by the topics and a regular a feeling for the role of James Beard Foundation. Villa, Cleveland Museum Association of Fundraising emcee for charitable technology in the arts. For many years, Ms. of Art Expansion, Skirball Executives Golden Gate events, as well a longtime Meyer Sound is often Waters has worked with Jewish Cultural Center, Chapter. volunteer leader. involved directly with the Berkeley public schools, and Los Angeles County performing arts at both where she originated Museum of Art. corporate and individual The Edible Schoolyard Mr. Youssef has been levels, locally in Berkeley as a national model to involved in various and worldwide. This is involve children directly industry and one more way that the in planting, gardening, governmental panels company stays in touch harvesting, cooking, and and is Chair of Project with the real reason for eating their own food. Restore, a non-profit its existence. Her goals are to illuminate organization dedicated to the vital relationship of the historic restoration food to their lives and and revitalization of teach respect for each historic facilities in Los other and for the planet. Angeles. 6 Project Partners

Mahealani Uchiyama Kary Schulman Laura Hitchcock President of the Board of Directors Director Executive Director World Arts West Grants for the Arts Presidio Community YMCA

Ms. Uchiyama is an award-winning dancer, musician, Kary Schulman has been the director of the Grants Laura Hitchcock has met branch needs from composer and teacher, and has spent much of for the Arts program of the SF Hotel Tax Fund for over fundraising to all types of recreation for the San her life advocating for cultural understanding. Her thirty years, providing funding for San Francisco’s arts Francisco YMCA since 2007. She began her YMCA recent work with World Arts West has been to help community. Under her leadership, funding has grown career as a youth and community director, camp build a next-generation mentoring program for the over six -fold, now granting almost $9 million to 220 director and site director in 1996. From 2003 to 2007 organization, working to develop both artistic and arts organizations and cultural projects, from ethnic she led financial development and management and administrative leadership for the future of the field. neighborhood celebrations to the San Francisco operations for environmental causes. Opera. Ms. Schulman has served on numerous panels and advisory committees for such agencies as the National Endowment for the Arts, California Arts Council, The Non-Profit Management Program of University of San Francisco, and the National Council on Foundations.

The primary partners are in communication with several other organizations for purposes of programming. We are also seeking to establish partnerships to operate or to further inform various major aspects of the vision for the Center for Global Arts and Cultures, among them: Palace of Fine Arts History Gallery Arts Technology Lab Once selected as a finalist, we will expand the conversations that we’ve We wish in particular to note our strong desire to partner with a started with several interested technology and innovation parties to specialized organization to run a History Gallery and associated gift shop establish a long-term partnership at the Palace. about the Panama Pacific International Exposition and Bernard Maybeck’s Palace of Fine Arts. We will receive guidance on this POFA history feature As one example, we are in preliminary discussion with the Association from noted historical experts and scholars to be announced in the next for Cultural Equity, which holds the Alan Lomax Archive, a priceless plase. international collection of recorded music, dance, and the spoken word, for bringing The Global Jukebox to San Francisco. The Center for Global Arts and Cultures is the perfectly appropriate place for young people to experience its riches. 7 Center for World Arts and Cultures Cover Letter

The attached Concept Project Summary meets the objectives of the San Francisco Recreation and Park Department’s goals. We propose a sustainable and financially sound organization – a world- class public center for global arts and cultures – in compliance with the charter of the Recreation and Park Department mandate that the Palace be used for a recreational purpose. The Center will be a cultural destination and community hub; will offer history about the 1915 Panama Pacific International Exposition and the role of the Palace of Fine Arts and will offer major and large-venue productions, arts education, international cuisines, support for wedding parties and other events, and extensive supporting services for the visiting public.

We welcome the opportunity for continued dialogue and would be pleased to provide further information.

Thank you for your consideration. We know that together we will return this magnificent setting to a rich, public life.

Sincerely,

Robert W. Cole Julie Mushet Mark Heiser Artistic and Executive Director Executive Director, World Arts West; Managing Director, 34th ANNUAL 34th SAN FRANCISCO DANCE ETHNIC FESTIVAL Palace of Fine Arts Foundation Director of Local Artist Programs Palace of Fine Arts League; Palace of Fine Arts Foundation Managing Director JUNE 2 — JULY 1 Palace of Fine Arts Foundation

Bay Area Flamenco Artist La Tania J.R. “Eddie” Orton III Mahealani Uchiyama, President, Orton Development, Inc. President of the Board of Directors 8 Project Advisor World Arts West Center for Global Arts and Cultures at the Palace of Fine Arts Concept Project Summary

Proposed Use for the Site performing, installation, experimental, and Visitors to the Palace of Fine Arts grounds will time-based media — who are now missing from be able to learn the history of the 1915 Panama We enjoy one of the most diverse regions in the San Francisco’s cultural calendar, will perform Pacific International Exposition (PPIE) and world, and we are the historic and continuing in a renovated Palace of Fine Arts Theatre and the role of the Palace of Fine Arts in a special home to a tremendously productive intellectual a new, large-scale, flexible-space Exhibition history gallery. The gallery and gift shop will give and creative ferment that draws from all those Pavilion. visitors a deeper connection to the remaining cultures. “We are in the absolute epicenter of structure of the original 1915 PPIE. (to be The San Francisco Ethnic Dance Festival and its where…worldwide companies are being grown,” operated by a partner) wrote a leading commercial real estate firm. hugely popular auditions will be able to return And now we have open to our imaginations to its long-time home and will be able to add a Two sprung-floor, fully equipped dance and a landmark site that was originally designed host of other events that marry our region’s vast rehearsal studios plus an arts technology lab will to express, reflect, and celebrate our region’s artistic and economic diversity. host community classes, students of all types monumental place on the world stage. and ages, and major touring dance companies. The International Cuisines Court will give visitors “What other city in the world has We propose a Center for Global Arts and an authentic taste of diverse featured cultures. anything like the San Francisco Cultures at the Palace of Fine Arts. The Center Food services will include a restaurant, catering, Ethnic Dance Festival?... will be a cultural destination, a community and concessions support. hub, and a major events site. It will offer major The San Francisco Ethnic Dance Festival and large-venue productions, arts education, is a must-see event. As Thomas Edison wrote, “there is not the equal - anywhere on earth” of Bernard Maybeck’s international cuisines, support for wedding Alastair Macaulay, New York Times parties and other events, and extensive genius building. It is the right and fitting place supporting services for the visiting public. for a Center for Global Arts and Cultures to Many of the world’s most exciting artists — express the region’s creative enterprise.

9 A Centennial Startup

Proposed Use for the Site (continued)

This Request for Concept Proposals coincides with the 100th anniversary of the Panama Pacific International Exposition (PPIE). The timing inspires a re-imagining of the Palace and its presence in the City of San Francisco. A Center for Global Arts and Cultures revives the conviction that San Franciscans, Californians, and world visitors can experience an impressive international spectrum of arts and cultures in an enchanted setting, much as our citizens engaged in the wonders of the Exposition a century ago.

In 1915 when the Panama Pacific International Exposition opened, it was a time of turmoil for the world and for the City of San Francisco. The City was just recovering from the terrible earthquake and fire of 1906, and the nations of Europe were engaged in economic and political troubles that would lead to the start of World War I. In the face of this, the civic champions of the PPIE persevered with their bold plan to bring the world together to encourage trade and to show the future of the world as it could be. They succeeded in their ambitions and left a of the Bay Area and Northern California. While architecture and history, exhibitions, hosts monumental mark on the region. there are a variety of performance spaces in vibrant performing arts organizations, world- San Francisco, the city has a shortage of suitable class performing artists, and large-scale art and San Francisco is indeed well known as a premier venues of sufficient size and availability to performance works that San Francisco would city for the arts, with top tier ballet, opera and support these needs. not otherwise see. In exercising this vision, the symphony companies as well as a broad array of Center will bridge understandings, inspire new other performing arts disciplines. At the same The Foundation will engage today’s civic connections, and further promote the City of time, there is a need here for a dedicated venue leadership to promote and support the San Francisco as an international city. where a curated, multidisciplinary presenting concept of the re-imagined Palace of Fine program can flourish. Certainly there is a Arts where visitors can experience and On the centennial of the PPIE, the Palace is demonstrated need for a professional home participate in cultural offerings from around uniquely suited as a new Global Center for Arts 10 for the arts that represent the ethnic diversity the globe. Imagine: music, dance, cuisines, and Cultures. Form, Function, Public Access

The Palace of Fine Arts Theatre An International Cuisines Pavilion Rehearsal Studios /Classrooms, (currently seats 962). We envision a fully will offer sophisticated concessions support. fully-equipped, 50’ x 40.’ Touring companies renovated and expanded Theatre with a need rehearsal time in the space in which capacity of 1,100 seats plus an upgraded lobby, International and world artists, diplomats, they must perform, but most often they are creating a truly world-class venue for world and guests want and deserve food service displaced by their own needs for lighting and artists, our international consular corps (the that complements international programs and staging setups, as well as other shows tearing Palace is their event venue of choice), and Bay themes. down or setting up. Area patrons. We will completely upgrade all The Pavilion will showcase in simple but elegant theatrical systems; lighting, sound, rigging and fashion a classic dish from featured countries. Two studios will be built to the scale of other stage elements, as well as improve and Visitors will be invited to “taste the world” and the POFA stage to support rehearsals for update Front-of-House amenities (box office, recall the international food experiences of the performers. These studios will constitute rest room facilities, etc.). PPIE. a powerfully attractive amenity for touring companies. Exhibition Pavilion. A portion of the All food would be locally sourced and sustainably farmed. The studios can also rent for general use in an former Exploratorium space will become a area of the City very weak in such amenities. performance and special event venue, capable Separately, hungry patrons coming to of a broad array of performance and art-related performances would find a long, unhurried The studios would double as desirable installations. We will remove the central café bar to get a bite and a drink before or after classroom environments, equipped with mezzanine structure to open this area fully. shows. The hundreds of thousands of annual portable seating and other necessary amenities visitors to the Palace lagoon and Rotunda seek for educational programs and outreach For all its post-PPIE public life, especially services and are generally shocked that no food activities. during the Exploratorium era, artists have been options exist for them. attracted to the rarely found indoor scale and A History Gallery & Gift Shop celebrating the unique setting of the Palace of Fine Arts. Wedding parties seek venues with catering the transformative 1915 Panama Pacific We will re-open that possibility to artists and options. International Exposition. audiences with an entirely flexible, open space. The ambiance would be beautiful. A small museum gallery will present information We envision a lively playground of large-scale and history about the PPIE. works, theatrical presentations and exhibitions, and culinary events. A gift shop will offer relevant historical and Arts Technology Lab (working name) artistic publications and quality items for sale. A magnificent space can also rent for a wide Young people will encounter inspiring, often variety of functions, from business events to surprising roots for new ideas and new Public Rest rooms will be open to serve the wedding parties. directions in the arts. Both sophisticated hundreds of thousands of annual visitors to the technology and live artists will engage students Palace of Fine Arts. A Grand Atrium accessible by the public will in the history, knowledge, creation and practice be a main point of entry for the venue and of music, dance, and other art forms. Various areas of the building will house office a focal point. Original doors will frame the and support services for World Arts West, majestic rotunda and link views to the Presidio POFA Theatre operations, Pavilion and other and the Golden Gate Bridge. 11 programming, and building operations. Form, Function, Public Access

World-class Programming The Festival needs a reliable home, and the vast community that the Festival showcases needs the Festival to have a reliable, suitable In addition to hosting the celebrated San Francisco Ethnic Dance venue for auditions and performances. The Festival needs to return Festival and other global arts, the POFA Foundation will embark on to our traditional home at the Palace of Fine Arts. Nowhere else in a curated program to present special performances of contemporary the Bay Area does a site offer the reliable, professional space and dance and music, classical and chamber, and other arts disciplines. joint scheduling needed to accomplish the annual feats of auditions and month-long Festival. With the entire building in play, it also A Home For Global Arts becomes possible to add cuisine and public participation to further celebrate the tremendous diversity of cultures showcased by World World Arts West marks 37 years serving the Bay Area’s diverse Arts West. Control of the space opens up a world of creative ways to communities, with a 25-year legacy at the Palace Theatre for its explore international cultures. signature San Francisco Ethnic Dance Festival. With the closure of the Palace of Fine Arts for the renovation of Doyle Drive in 2011, the Sufficientrehearsal space is another essential component of a Festival was forced out of the Palace and has had to negotiate for successful performance venue. The logistics of presenting and different, more difficult venues each year. producing require that the stage space be scheduled in the most efficient manner. Productions that are brought into the venue require Smaller venues depress revenues, and other art houses can’t stage time for lighting and set-ups. At the same time, performers manage the widely varying acoustic requirements of a multi-ethnic need a suitable rehearsal during their short residency. A separate musical festival. We have even had to cancel our vital annual rehearsal studio can make the difference between a well-rehearsed auditions, which are open to the general public, for lack of an performance and no rehearsal. appropriate venue.

I can’t think of a better use for the Palace of Fine Arts than preserving it for the public experience of world-class global and new cultural expressions. This is a once-in-a-century chance to secure a showcase for the region’s immense diversity of peoples and world- class expressions as well as to bring in world-class performances that enrich all traditions. — Jan Farren SVP, Senior Managing Director Marketing, Communications & Professional Development 12 Ascent Private Capital Management of U.S. Bank Presenting excellence in the performing Arts

Many of the world’s most exciting artists — performing, installation, The 962-seat Palace of Fine Arts Theatre is already a much-needed experimental, time-based media — are missing from San Francisco’s and attractive venue, and when it is renovated and expanded to cultural calendar. 1,100 seats will be a state-of-the-art hall with all the amenities that artists need and look for. Two types of venues are attracting and inspiring them: well-supported, mid-sized concert houses — especially if they have good rehearsal The POFA Theatre with its large, proscenium stage will couple with options — and large, well-supported, flexible spaces. The Global two sprung-floor rehearsal halls/studios (a coveted rarity), plus first- Center for Arts and Cultures at the Palace of Fine Arts will provide class back-of-house support (lighting, sound, stage management, both advantages. Our much-needed addition to San Francisco’s arts box-office, ticketing, concessions, and so on.) Financially, the POFA spaces will also provide the rare option to involve both venues in a Theater has the critical requirement of providing enough seating to single event or festival. The POFA Theatre and the Event Pavilion will make large productions viable. Smaller houses such as the 437-seat each be able to satisfy both the artistic and financial requirements of Cowell Theater, for example, are fine for smaller companies, but both major performing companies and other types of artists. its stage and seating capacity are too small for major companies such as Dance Theater of Harlem or Netherlands Dance Theater, just to give two of many examples.

Performance spaces in San Francisco with 750 or more seats: Other larger houses are booked at full capacity, are too costly, The Novellus Theater / 750 seats The Geary Theater (A.C.T.) / 1,025 seats or are unsuitable for most artists: at Yerba Buena Center is not capacious promotes its rental program as ideal for enough for many major dance and “lectures, screenings, presentations, • Curran / 1,700 seats theater companies to make ends meet. and other events.” There is no additional Increasingly, this theater is not available for rehearsal space and the stage floor is not • Warfield / 2,200 seats arts programs, as the demand for corporate sprung. • Golden Gate Theatre / 2,400 seats bookings continues to rise. The Castro Theatre / 1,400 seats • Louise M. Davies Symphony Hall The Herbst Theater / 916 seats is not a concert or performance venue. 2,739 seats is at present the only facility with a sprung, wood dance floor plus good rehearsal The Nourse Theater / 1,684 seats • War Memorial Opera House options in the Zellerbach Rehearsal Hall. is a renovated high school auditorium 3,146 seats Unfortunately, even the Herbst has its and not suitable for many types of • Masonic Center / 3,165 seats drawbacks. The stage is much too small performance. There are no wings for to accommodate many dance and theater dance performances. • Bill Graham Civic Auditorium companies. It is best suited for chamber 5,000 seats. music presentations.

13 This performance made possible, in part, thanks CAMINOS FLAMENCOS YANG YANG DANCE to the generosity of Esther and Calvin Li & the Chinese Performing Arts Foundation

Spain’s fifteenth century marginalized Mendez dynasty of flamencos in Jerez, (and sometimes from other countries) Yang Yang Dance was formed in 2004 to communities of Romani, Sephardic, Spain: she carries a long tradition. travel to their home towns to celebrate bring Chinese ethnic dance instruction Spain Byzantine, Spanish, and Moors. China with extended family. Most businesses to the South San Jose area. Yang Yang Caminando a Zaafra—Walking to Zaafra, Caminos Flamencos was founded in Firecrackers announce the start of the shut down, and people gather to relax learned to dance at the Beijing Dance begins with a contemporary flamenco Caminando a Zaafra is performed in the mid-1990s to promote and present spring festival, and the young Han girls and eat together. Everyone, and especially Academy, and received her degree in number, choreographed for the stage. the style of jaleo extremeños from both innovative and traditional creations pour into the streets to celebrate and the children, anticipates a trip into the Chinese dance there. She performed for Then the dancers begin to sing in unison, Extremadura in western Spain. Poor representing the past, present, and future play. This dance, Wind Blown Butterfly, is mountains, where they can climb, picnic, the Chinese Opera and Ballet Theatre as they walk down a Spanish and sparsely populated, Extremadura is of flamenco. Artistic director Yaelisa is a traditional Han Chinese dance from and play. from 2000-2005. Her students, the road— known for its flamenco and tango and also director and co-founder of the New Shanxi region, showcasing Han fan and performers in this dance, are eight to for a relatively large population of Roma World Flamenco Festival. A second umbrella techniques. The dancers flash 年味儿 nine years old. Most of them began Camino la feria Zaafra people. Jaleos Extremeños is an archaic generation flamenco artist, Yaelisa has their fans like butterflies and snap them dancing at age five. caminanan dos Extremeñas song style that is not usually danced. won an Emmy, an Isadora Duncan Dance with a technique called da shan. They 红红的年味儿在灯笼上摇， van vendiendo sus canastas Its songs have resurfaced among the Award, and ABC 7’s “Profiles in Excellence” twirl umbrellas like flowers in a fresh 甜甜的年味儿在年糕上笑， Dance Origin: China • Genre: folkloric (han ethnic group) • Title: Wind blown butterfly region’s Romani singers, and have been Hispanic leadership award. Jason breeze and show off splits, Chinese kung 喧喧的年味儿在锣鼓上敲， Artistic Director/Choreographer: yang yang McGuire “El Rubio” is the award-winning Traveling to the Zaafra fair popularized by Porrina de Badajoz, Ramon fu kicks, and fluid backbend bridges lyon • Dancers: felicia fan, erica fu, ashley are walking two women from Extremeña Porrina “El Portugese”, and Guadiana. musical director for Caminos Flamencos and handstands, moves from Chinese 好 运 道 送 来了热热闹闹。 Jiang, Jessica Jiang, annie Ping, annie Xu, to sell their baskets The songs are party songs—usually and the New World Flamenco Festival. Opera’s zuo tumbling. kailyn Xu, Joanna yan, sarah Zhang accompanied by palm-clapping and www.caminosflamencos.com The Taste of New Year —and they sing themselves into the past, cries of encouragement and admiration— The dance is set to a traditional spring into the small town of Zaafra, where the with lyrics about love, working, traveling, Dance Origin: spain • Genre: flamenco festival piece of music, “Nian Wei Er— The taste of the New Year in swinging feeling is decidedly different. In friendship and being together in family. The style Title: Caminando a Zaafra • Artistic Director/ The Taste of New Year.” It features the red lanterns, Choreographer/Singer/Dancer: yaelisa and close community, the dancers is related to the palo bulería, with a suo na, a Chinese oboe with a distinctively In the sweet rice cakes that make us Soloists: fanny ara, Melissa Cruz, Marina elana transition to the traditional flamenco monotone cadence and a relaxed 12- Dancers: damien alvarez, Paloma aspe, alexis loud and high-pitched sound which can laugh, form. Graceful dance, zapateado footwork, beat scheme with 6-beat and 3-beat davis, kymm haggar, laura hanks, kelly imitate the singing of birds. Over the The loud banging of the drums, clapping of palmas, and cante song are sections. In this piece, the dancers sing kovanis, devon larussa, larraine leitz, leslie years, the instrument Culturaland the song have Destination,Lively celebration brings good Education, luck. Community all improvised on the spot. The result together, unusual in flamenco performance. Macarthur, ruby Moyoli, Veronica rodriguez, become inseparable: the familiar melody is an intimate conversation between holly shaw, lauren smiley, Patricia Wilson announces it’s officially spring. The costumes are traditional Han Spring Musicians: Jason Mcguire “el rubio” (cajón), melody and movement, dancer, singer, Yaelisa choreographed the piece, with Festival costumes. Red symbolizes luck kina Mendez (vocals) musician, and audience. The spontaneity soloists creating their parts. Jason McGuire Spring Festival is celebrated for two and happiness. The choreographer is and passion of this performance speaks “El Rubio,” accompanies on cajón, a weeks around the Chinese New Year. Yang Yang Lyon, 2010. to flamenco’s origins. The dance developed traditional box instrument. Special Family members from all over China as a form of soulful protest amongIn additionguest singer to Kina the Mendez annual is from theSan Francisco Ethnic a world-class Dance Festival programs and other beloved commissioning JULY 2 & 3 NOVELLUS 1, THEATER / YBCA | 48 annual Palace of Fine Arts performances, the program to POFA Foundation will partner with the best support the regional music and dance organizations in the creation of new Bay Area to perform regularly at the Palace. works that will premiere at the June 14 & 15 / Yerba Buena Center for the Arts The Foundation will curate a presenting Palace of Fine Arts program that will include bringing leading throughout the artists from around the globe to welcoming year. performance spaces (Theatre and Pavilion) for the benefit of both Bay Area audiences and The8 FoundationClassical tourists.June To deepen the14 artistic & vibrancy 15 of the willIndian continue Dance Forms programming offered, we will also establish to support and encourageNava Dance a Theatre wide variety Bharatanatyam – Tamil Nadu of appropriateBhavajan Kumar Bharatanatyam – Tamil Nadu NOVELLUS THEATER / YBCA THEATER 1, 2 & 3 NOVELLUS | JULY 47 rental events. Sunanda Nair Many communityKathakali and Mohiniattam – Kerala organizationsGuru Shradha will continue Odissi – toOdisha have accessSujata Mohapatra for Classes and classroom performances. Outreach Odissi – Odisha concerts, meetings, and social events. activities that are coupled with programming Natyalaya Kuchipudi – Andhra Pradesh would take place in the Rehearsal Studios, which would be equipped with portable seating A neededK.P. Kunhiraman base for education (of Kalanjali: Dances of India)programs: In addition Kathakalito the – Keralaannual Ethnic Dance Festival and and other amenities necessary for a classroom monthlyKalanjali: programs Dances at of CityIndia Hall, World Arts West environment. Bharatanatyam – Tamil Nadu organizes educational and cultural programs Sohini Ray For many years, the Palace of Fine Arts has been all year roundManipuri for – Manipur its large audiences. Arts educationSattriya constitutesDance Company an essential, existential the venue of choice for national days hosted by aspect of Sattriyaits operations. – Assam A reliable home base members of the San Francisco Consular Corps. Chitresh Das Dance Company For the Indian cultural celebration of lights on the scaleKathak of – Uttarthe Pradesh Palace of Fine Arts will make a terrific difference in what we will be able bring known as Diwali, for example, we envision the to the public. entire Center in use with performances in the www.sangamarts.org Theatre, participatory activities in the Exhibition www.facebook.com/sangamartsorg Pavilion, dining in the International Cuisines Natyalaya Court, and educational activities in the Studios

11 and Arts Tech Lab. 14 Special Events / Rental Space / Licensee Activities

The number of available dates for POFA Foundation programming will be events such as concerts, filming activity, and community celebrations. balanced by the need to provide rental opportunities to the community Investments in connectivity and multimedia infrastructure will create as a part of its mission. A successful rental program hinges on a balanced well-suited opportunities for tech industry events. utilization of all of the spaces available to the venue. The trend in venue management is moving away from fixed à la carte rental rates in favor There is opportunity for social events at the Palace (weddings, bar/bat of licensee agreements that seek to maximize rental revenue, create mitzvahs, etc.). The park and Rotunda is an iconic location, and there is opportunities for smaller non profits, and in general increase the level expected to be significant demand for social events to be set in a location of productive occupancy. For example, multi-year agreements with that can provide both dinner and reception activity in the Pavilion. Once organizations with a smaller financial capacity allows for stability of again, the trend in successful arts venues is to leverage the value of booking dates for both client and venue. Another model involves hybrid iconic assets to differentiate them from ordinary locations such as hotel license agreements that allow for some share of risk in return for a ballrooms. share of revenue; such arrangements may also involve some measure of marketing and PR support. Restaurant operationsare a key component for the operation of the Palace. In addition to catering services, an on-site restaurant that can The Exhibition Pavilion will provide special event space for fundraising operate independently of performances will reinforce the Palace as a and other support activities. The efficiency of a major fundraising event destination that can provide needed services for tourists and visitors. A proximate to a performance space is highly desirable. The Pavilion would fully functional restaurant operation is also a far more efficient method of likely be used for major fundraising events principally in conjunction with providing catering and concessions support for the Theatre and Pavilion. programming in the Theatre. Casual pre-event dining can also take advantage of creating a palate of ethnic menu items that reflect the diversity of programming in the venue, We envision hosting largerone-time events, such those produced by promoting a holistic cultural experience for the patron. non-profit organizations (e.g. hospital fundraisers) as well as commercial

15 Form and Function / Improvements

In addition to the Required Improvements, the facility would be divided in a manner similar to Plan Option 1 of the EHDD study. Specifically, the configuration of the facility would have the elements indicated below (see Form and Function on page 11 for details):

In the next phase of development, the selected architect will design the internal scheme in consultation with the project team.

• The Palace of Fine Arts • Grand Atrium • Exhibition Theatre Pavilion • An International • Two Rehearsal Studios / Cuisines Pavilion Classrooms • Arts Technology Lab

• A History Gallery & Gift Shop

• Public Restrooms • Office and Support Services 16 Form and Function / Improvements

Peter Sellers and the Berlin Philharmonic, St. Matthew’s Passion, Park Avenue Armory October 2014 The Grand Atrium The Exhibition Pavilion Architect Bernard Maybeck designed the Palace of Fine Arts so that people The Palace’s Exhibition Pavilion, for its part, would host large-scale work would enter the exhibition building from the grand doors at the central that is designed for an open, flexible space. axis. These doors were sealed for many years, and we are excited to honor his vision, returning the main building entrance to his original concept. Such works are now being presented at the Park Avenue Armory in New York, but at only a few other venues in this country. There are conceivable The San Francisco Recreation and Park Department commissioned such venues in San Francisco (Fort Mason Center Festival Pavilion, San urban design firm Esherick Homsey Dodge and Davis (EHDD) to propose Francisco Armory), but large-scale performances in them are rare. In suggested scenarios for the post-Exploratorium Palace of Fine Arts and we our Event Pavilion, The Palace Presents would regularly feature major propose to utilize the basic plan outlined in their Plan Option 1 (page 12) works by such acclaimed artists as director Peter Sellars or video artist In this scenario, the main public entrance to the building will be at the Bill Viola. Goldberg, a production to be presented in December 2015 iconic Palace Rotunda, inviting visitors into a Grand Atrium in the center at the Park Avenue Armory in New York City, offers an ideal example: it of the building. As a public space, the Grand Atrium will provide essential combines music — J.S. Bach’s Goldberg Variations interpreted by pianist services to the many annual visitors. Igor Levitt — with a visual-art installation created by seminal artist Marina The Grand Atrium space will incorporate the Exhibition Pavilion, Abramović. Levitt has visited the Palace of Fine Arts and has already International Cuisines Pavilion, Arts Technology Lab, History Gallery & expressed his wish to us to perform Goldberg in the Event Pavilion at the Gift Shop, Public Rest rooms and other Office and Support Services, with earliest opportunity. (http://www.armoryonpark.org/programs_events/ adjacent Rehearsal Studios /Classrooms detail/goldberg) The architectural design of the various interior spaces will resonate with the existing exterior architecture, while incorporating state-of-the-art technology 17 and energy efficient/LEED design in the next phase of development. Respecting the Neigborhood

Link to the surrounding area; public services

The Grand Atrium will link with the Rotunda and will provide much-needed public services to the many visitors to the Park including rest rooms, WiFi, food, and other amenities. Although the Palace is a well-known destination, there is a notable lack of public services available to a site-seeing or park visitor. The entrance to the Grand Atrium will be at the restored central doors, proximate to the Rotunda. The western set of central doors will be open to the public as well.

Food service at the Palace will have regular business hours and provide a much-desired opportunity to visitors. Serving the public in a contained, interior facility, we anticipate a low impact on the surrounding residential neighborhood. Visiting school groups will be served food in ways that will keep them safe and warm during school hours on potentially rainy days, or we will encourage school and tourist groups to continue their Marina/ Presidio experience by visiting the surrounding and Crissy Field areas.

Enhance the visitor’s experience to the site and surrounding park property As stated in the narrative above, the goals for the Foundation will be to present, produce and license the venue to a variety of arts organizations for public events. In addition, private and corporate events will help sustain operating expenses. The Grand Atrium and restaurant will provide ongoing services to the visiting public. All of these elements are meant to enhance the experience of visitors to 18 the Palace of Fine Arts.

Respecting the Neigborhood

Parking, traffic and noise issues How the proposal meets or exceeds the to the surrounding neighborhood Department’s Goals and Objectives

The Foundation will coordinate all parking and transportation activities with Every part of the Palace of Fine Arts will be dedicated to the public users of the facilities and with its own events. There will be more signs to appreciation of or participation in the cultural offerings of the Global direct patrons toward parking areas. Center for Arts and Cultures. The RFCP asked that, minimally, only a portion of the building offer public access, principally the Atrium (or Restaurant activity, particularly during the day, will not have a significant impact on the parking in the area, as there should be sufficient parking Foyer). We seek to employ the Palace of Fine Arts as a cultural center in its already in place. Also, between the completion of the Presidio Parkway and entirety. cooperation with the Presidio Trust, additional parking spaces may become available within a short walking distance. Visitors will freely enter the Grand Atrium, gather for history and architectural tours, find amenities they need, explore the PPIE History Buses bringing school groups to performances or events will have Gallery and gift shop, come in from the cold, or just enjoy the views. After designated parking areas away from nearby residences and will not be hours, the Atrium area can be decorated for all kinds of events, from permitted to leave their motors idling. weddings to benefits.

Note that the Foundation will closely coordinate events in the Theatre In the Palace of Fine Arts Theatre visitors will attend concerts and other and Pavilions, which can reduce traffic in the evenings. For example, performances, ceremonies, meetings, conferences, awards programs, and theater patrons arriving for a dinner or gala in the evening in the Center’s much else for which a well-equipped stage and audience are wanted. Exhibition Pavilion may then subsequently attend a performance in the POFA Theatre. The facility is fully activated, but the impact on the Adjacent to the Grand Atrium in the International Cuisines Pavilion, visitors neighborhood is limited. will enjoy culturally featured foods (knowing that everything is sustainably, Significantly, as the single, master tenant, the Foundation will be able locally grown), grab a bite and a beverage before a show, or simply treat to address any community concerns directly. A multi-tenant operation, the Palace of Fine Arts as their personal café. however well intended, may schedule overlapping events, resulting in congestion and parking problems, with no clear point person for the In the Exhibition Pavilion, a highly flexible space, visitors will stand, sit, or community. roam for performance art events, exhibitions, conference events, or large- scale benefit events.

The Foundation, as the master lease holder, proposes a long term commitment to the Palace which meets the objectives of the rec dept. As outlined, our project provides valuable services and amenities, enhances the visitor experience and public access to the Palace, engages the community, restores and protects the building, and is financially feasible and sustainable.

19 Protect and Preserved / Lease Term

How the Palace of Fine Arts Building will be protected and preserved, Lease Term

The Palace of Fine Arts Foundation will conduct all identified infrastructure renovations as the first preservation priority. Additionally, we regard the Department’s recommended seismic work as necessary and critical, not optional. As the Palace of Fine Arts Theatre undergoes renovations, all architectural and construction work will be conducted in accordance with preservation objectives and regulations, and will conform to the Secretary of the Interior’s standards for Historic Preservation. The Foundation will monitor and maintain the structural integrity of the roof and its skylights as well as the existing fireplaces. We do not anticipate any alterations to the exterior of the building facade or any modifications to areas that have been identified as either “significant” or “contributing” according to the Feasibility Study of 24 January 2013, unless such modifications are otherwise required by fire or building codes, or by ADA Accessibility Guidelines.

The Foundation has partnered with Orton Development, Inc., a local Bay Area developer with proven track record in redevelopment, rehab and historic preservation.

Lease Term

The Palace of Fine Arts foundation will follow the Form Lease as included in the RFCP to formalize the terms of the lease.

The proposed lease term would be a minimum of 55 years. A sublease with a restaurant operator will require a term of at least 25 years, depending upon scope, to allow the business to depreciate the investment of FFE capital.

The capital campaign will likely involve naming opportunities for properties within the venue. Such naming agreements that are not in perpetuity will have terms that can be up to 50 years after the death of the present donor. It is assumed that any naming agreement will require City approval and would involve an agreement directly with the City, so any term of lease for the Master Tenant could be written so that such naming agreement would survive the termination of the lease. 20 Local Artists Working with World Arts West, Who Depend on the Palace of Fine Arts for Performance and Opportunities

ABADÁ-Capoeira SF Perf. Troupe Brazil Ensohza Minyoshu Japan Larawan Philippine Dance Company Phillipines Raices de Mexico Mexico Abbos Kosimov Uzbekistan Eredet Folk Emsemble Hungary Las Bomberas de la Bahia Puerto Rico Renacer Folklorico Bolivia Bolivia Abhinaya Dance Company of San Jose India Escola Nova De Samba Brazil Las Que Son Son Cuba Rancho Folklorico A Portuguesa Portugal Academy of Chinese Performing Arts China Esperanza Del Valle Mexico Lasya Academy of Dance India Raquel Lopez Flamenco Dance Ensemble Spain Academy of Hawaiian Arts Hawaii Eszterlánc Hungarian Folk Ensemble Hungary Lasya Dance Company India Rara Tou Limen Haiti Afoutayi Dance Company Haiti FatChanceBellyDance Middle East Laurie Eisler India Rasa India African Queens Mali Fibi Vernier & Groupo Sol y Luna Spain L’Chayim Israeli Folkdancers Israel Reconnect and Haitian Cultural Club Haiti Aguas Da Bahia Brazil Filipiniana Dance Troupe Phillipines Leap of Faith Longsword England Red Thistle Dancers Scotland Aida Loussararian Tunisia First Congregational Christ Church of Samoa Samoa Les Bantas Sissa Kongo Congo Riordan Break Dance United states Al Robinson United States First Voice: Marku Izu and Brenda Wong Japan Lestari Indonesia Indonesia Roots of Haiti Haiti Alafia Dance Ensemble Haiti Flamenco de la Bahia Spain Leung’s White Crane Lion and Dragon Dance China Rosa Montoya Bailes Flamencos Spain Al-Fellahin Near and Middle East Flamenco Society of San Jose Spain LiberTango Dancers Argentina Roy Whitehawk United States Alicia Adame Y Aldo Ruiz Spain Flesh & Spirit Haiti LIKHA-Pilipino Folk Ensemble Phillipines Rumsen Ohlone Tribes Humaya Singers United States Alleluia Panis Phillipines Fogo Na Roupa Performing Company Brazil Lily Cai Chinese Dance Company China Russian Folk Ensemble Russia Amanda Geroy India Folklórico Latino de Woodland Mexico Liu and Han Chinese Dance China Ryukyu Mabui Kaiko Okinawa Amara Tabor-Smith Folklórico Nacional Mexicano de Elana Mexico Llactenchis of Peri Peru Sabjilar Siberia Arenas Dance Company Cuba Fook Sing Lion Dance Troupe China Lok Naach Performing Arts India Sacramento Taiko Dan Japan Asociación Cultural Kanchis Peru Forgatos Hungarian Music and dance Ensemble Hungary Lola Montes Spain Sahiyar Dance Troupe India Aswan Dancers Egypt Four Winds United States Los Danzantes de Aztlán de Fresno State Mexico Salaa-Paq Kmae: Apsara Cambodia Athira Pratap India Fua Dia Congo Congo Los Danzantes Alegria Mexico Salsanisimo Cuba “Azama Honryu Seifu Ichisen Kai USA Fuego Nuevo Ballet Folklórico Mexicano Mexico Los Flamencos de la Bodega Spain Sam Dos Cambodia Kinuko Mototake Okinawan Dance Academy” Japan Fujima Rokushige Japanese Classical Japan Los Lupeños de San Jose Mexico Samar Nassar Middle East Aztlan Dance Company O Sacramento Mexico and United States Gadung Kasturi Balinese Dance & Music Inc. Indonesia Los Tangueros de San Francisco Argentina Samba Do Coracao Brazil Bahia Y Tambor Venezuela Gamelan Sekar Jaya Indonesia Lourdes Rodriguez Spain San Francisco Celtic Dance Ensemble Ireland Bal Anat Eygpt Gen Taiko Japan Łowiczanie Polish Folk Ensemble of SF Poland San Francisco Taiko Dojo Japan Ballet Afsaneh Iran Ghungroo Dance Academy India Luis Valverde Peru San Jose Taiko Japan Ballet Folklórico Alma De Mexico Of SSF Mexico Grace Lee Grant Indonesia Maharlika Cultural Troupe Phillipines Sandhya Ram India Ballet Folklórico Anáhuac Mexico Greek American Folklore Greece Mahealani Uchiyama Nubia Sangre Brava Spain Ballet Folklórico Compañía Mexico Danza Mexico Greek Folklore Dance Company Greece Maika Zemja Bugaria Sangreet Group of California India Ballet Folklórico Costa de Oro Mexico Gregangelo Egypt Malia De Felice Tunisa Sanhiti India Ballet Folklorico Ensambles De San Francisco Mexico Group Petit La Criox Haiti Mambo Romero Cuba Sattriya Dance Company India Ballet Folklórico Jaliscience Mexico Grupo Aztlan de San Francisco Mexico Marcelo Solis and Romina Hahn Argentina Sewam American Indian Dance India Ballet Folklórico Mexicano De Carlos Moreno Mexico Grupo Folklorico Mexico Tenochotian Mexico Mariam Gaibova Tajikistan and Uzbekistan Shabnam Dance Company Middle East Ballet Folklórico Netzahualcoyotl Mexico Grupo Folclórico Alma Ribatejana Portugal Matija Gubec Croation Folklore Dance Croatia Shakti Dance Company of Northern California India Ballet Kizingou of Fua Dia Congo Congo Grupo Folklorico Alika de Naya de San Jose Mexico Melissa Cruz Spain Shanyin Amy Chang China Ballet Lisanga Congolese Performing Arts Company Guinea Grupo Folklorico Estanpas de Chile Chile Mercedes Metal y El Grupo Chispazo Spain Sharyln and Group Yasha Turkey Ballet Pampa Argentina Argentina Grupo Folklorico La Familia Mexico Mevlevi Order of America Turkey and United States Shreelata Suresh India Ballet Regional Mexicano Mexico Grupo Folklorico Paule Puerto Rico Michelle Thompson Russia Shrungaar Group of Northern California India Ballet-Saba West Afrika Dance Company Guinea, Senegal Grupo Utrera Spain Michiya Hanayagi Japenese Dance Studio Japan Shuang Hou and Xiamou Hou China Ballet Saungamare West African Dance Senegal Gumbo Ya Yas United States Mien Legends laos Shuvani Russia Bantaba Dance Ensemble Guinea Guru Shradha & Sujata Mohapatra Odissi Minoan Dancers Greece Sierra Pacific Academy of Scottish Art Scotland Barangay Dance Company Phillipines Haeja Kang Korea Miriam Peretz Uzbekistan Sindhu Ravuri India Barbary Coast Cloggers United states Hahbi’Ru Dance Ensemble Egypt Mission Chinese Club China Six From Hania Greece Bay Area Rapper Dancers England Hai Yan Jackson/Shannon Tse China Miyagi Ryu Ohtori Okinawa Slavonijo Kolo Ensemble Yugoslavia Berkeley Morris England Hala Dance Emsamble Egypt Moemoea Polynesian Dance Theatre United States Sohini Ray Manipuri Bhavajan Kumar Bharatanatyam Halau Hula Kaiwi O Ku’uipo Ohana Hawaii Mona Khan Company Emerging Performers India Sol de Espana Spain Bolivia Corazón de América Bolivia Hālau o Keikiali`i United States Mona Sampath Dance Company India Sonali Vepa India Brazil Dance Revenue Brazil Harambee Dance Ensemble Haiti Mountian International Dance Company Russia Sons of Samoa Tahiti, New Zealand, United States Brian Clearly Ireland Harsanari Indonesian Dance Company Indonesia Murphy Irish Dance Company Ireland Soulforce United states Caminos Flamencos Spain Hearan Chung Korea Murphy Irish dancers Ireland Spirits of Polynesia Pan Polynesia Carmen Grandos Spain Hiyas Philippine Folk Dance Company Phillipines Mythili Kumar India Sri Susilowati Indonesia Carola Zertuche Flamenco Company Spain Housin’ Authority United States Nā Lei Hulu I Ka Wēkiu Hawaii Steven Kent Australia Carolena Nericcio Middle East Hui Pa Hula O’Leianuenue Hawaii Na Mamo No’eau Hawaii Suciawani Balinese Dance Bali Ceedo Senegalese Dance Company Senegal Hui Tama Nui Tahiti Nancy Rose Azerbaijan Suhaila Dance Company Egypt Celtic Dance Ensemble Ireland Hula Halau Na Pua O Ka La’kea Hawaii Namah Performance Group Iran Sun Eagle Southern Singers and Dance United States Centeotl Grupo De Danza Y Baile Mexico Il Hyun Kim Korea Nanna Candelaria Middle East Sunanda Nair Kathakali, Mohiniattam Center for World Music Indonesia Imani’s Dream United states Natayana India Sunugal Ballet From Senegal Senegal Centro Cultural Baila Un Peru Peru Imhotep Dance Ensemble Senegal National Ballet of Zaire Zaire Swords of Barbary England Chaksam-Pa Tibetan Dance Company Tibet Indumathy Ganesh India Natyalaya Kuchipudi Swords of Gridlock England Chandra Ayu Davies Indonesia Instituto Mazatian Bellaa Artes Sacra Mexico Nava Dance Theatre Bharatanatyam Ta Whiti Aotearo New Zealand Charlotte Moraga India International Office of Campa Navarrete x Kajiyama Dance Theater Argentina Tabu Dance Ensemble Egypt Charya Burt Cambodian Dance Cambodia Izumi Sato India Nemesio Paredes Spain Tara Catherine Pandeya Uyghur Autonomous Cheikh Tairou M’baye and Sing Sing Rhythms Senegal Jazayer & Yazweena Egyptian Ensemble Egypt Neva Russian Dance Ensemble Russia and Moldavia Tarangini School of Kathak Dance India Chhandam Youth Dance Company India Jeff Raz United States Niharika Mohanty India Te Mana O Te Ra French Polynesia China Dance School and Theatre China Jenny Fong China Nimely Napla Pan African Dance Company Liberia Te Maoritanga Rima New Zealand Chinese American International School Mongolia Jose Francisico Barroso and Obakoso Cuba Nirkoda Israel Te Mau Tamari’I A Tiare Tahiti Chinese Dance and Music Association China Jubilee American Dance Theatre United States Nitya Venkateswaran India Temur Koride’s Children’s Dance Company Georgia Chinese Folk Dance Association China Julia Tsitsi Chigamba Zimbabawe Nlolo Kongo Congo Teocalli Mexico Chinese Performing Artist of San Jose China Jun Daiko Japan Nora y Nito Argentine Tango Argentina “The Ladies of Moani ke ‘Ala O ka Mailelauli’I & Chinese Performing Arts of America China J’vouvay Folk Performing Company Trinidad and Tobago Nordahi Grieg Leikarring Norway The Men of Ka I ho Makawalu A ka Kipu’upu’u” United States Chinyakare Ensemble Zimbabwe Jyoti Kala Mandir College of Indian Classical Arts India Northern California Korean Dance Association Korea Theater Flamenco of San Francisco Spain Chitresh Das Dance Company India Jyoti Rout India Northern California Okinawa Club Okinawa Thoissane African Senegalese Dance Company Senegal Chuna McIntyre United States K.P Kunhiraman India Nritta Katha School of Kathak Dance India Tonatiuh Mexico Chung Ngai Lion Dance Troupe China Kafka Fol Song and Dance Nunamta Yup’ik Eskimo Singers and Dancers United States Troupe Ghajjar Tunisia Clarie Yam China Kaiaulu United States Obakoso Drum & Dance Ensemble Cuba Troupe Tangier & Marhaba Morroco Coastal Pomo Indian Dancer of Point United States Kala Vandana Dance Center India Omulu Capoeira Group Brazil Tsai Hung Performing Arts Company China Colectivo Anqari Bolivia and Peru Kalanjali: Dances of India India OngDance Company Korea Uma Lyer India Collage Dance Ensemble Romania Kalilang Kulintang Ensemble Phillipines OREET Eygpt and Israel Umi Vaughan Compañía Mazatlan Bellas Artes Mexico Kanaka Sabha School of Bharatnatyam India Ote ‘a Api Tahiti United Indian Nations Dancers United States Constantinople Group Greece Kanchis Folklorico Dance Group Peru Otufelenite Tongan Dance Ensemble Tonga Urban Jazz Dance Company United States Cruz Luna Ole Ole Flamenco Company Spain Kantuta Bolivia Owo Ache Cuba U-Zulu Dance Theater South Africa Cuadro Iberico Spain Kariktan Dance Company Phillipines Padmini Srikantiah India Vidhya Sridhar India Cultural Heritage Choir United States Kariyushi Kai Okinawa Palabuniyan Kuintang Phillipines Virginia Iglesias and Alma Flamenca Spain Da Island Way Tahiti KaUa Tauhine Dance Company Tahiti Pampa Dance Academy India Vishwa Shanthi Dance Academy India Dana De Simone United States Kaulana Na Pua O Hawaii Dancers Hawaii Pampa y Estrellas Argentina Vistula Polish Dance Company Poland Dance Theatre of Om India Kavita Radhakrishnan India Pan Americn Dance Company El Salvador Vladimir Piazantsev Russia Dances of Pacific Tahiti Ken and Chelsea Argentina Parangal Dance Company Phillipines Wajumbe Brazil De Rompe y Raja Cultural Association Peru Kennelly Irish Dancers Ireland Parna Basu India Wan-Chao Dance Eurasia Dehcontee Liberian Dance Company Liberia Khadra International Folk Ballet Pan Europe Pasión Flamenca Spain Westwind International Folk Ensemble Bulgaria and Yugoslavia Diamano Coura West African Dance Company Guinea, Ivory Coast Kiyonomoto Ryu USA Classical Dance Group Japan Patricia Ines “La Rubia” Spain Wushu West China Dimensions Dance Theatre African Diaspora Kompiang Metri Indonesia Pejman Hadadi and The Namah Performance Persia, Spain Xipe Totec Mexico Drums Of Polynesia Polynesia Koraci Croatian Folklore Ensemble Croatia Peony Performing Arts China Xpressions India Dunsmuir Scottish Dancers Scotland Korean Youth Cultural Center Korea Peruvian Dance Center Peru Yaelisa Spain Ebbtisaam Nikol Egypt Kos Kadas Foloric Dancers Iran, Morocco, Turkey Peruvian Folk Dance Company Peru Yang Yang Dance China Edwardo Madril United States Ku’uipo ‘Anela ‘O Kalani United States Peruvian Folklore Company Peru YaoYong Dance China El Cuadro Ensemble Spain Ku’uipo Ohana United States Phillipine Performing Arts Phillipines Yaweena Tunisia El Gaucho Uruguay Kyoungil Ong Korea Podel-Fe Korea Yore Folk Dance Emsemble Turkey El Tunante Peru L.D.S Polynesian Dance Company Samoa Pomaikai Polynesian Company Tahiti, New Zealand, US Zambra Bailar Yalla! Morroco, Algeria El Wah Movement Dance Theatre Haiti L.O Sloans Jubilee Minstrels United States Prabhath Academy for Music & Performing Arts India Zhou Hui of Chinese Performing Artist China Elosia Vasques y su Caudro Flamenco Spain La Fibi Flamenco Dance Company Spain Presidio Dance Theatre Turkey Ziva Emtiyaz Cairo EMESÈ: Messengers of the African Diaspora Cuba and Brazil La Monica Spain Proyecto Cubano Cuba ZOOZ Dance Company Middle East English Country dance Society England La Tania Baile Flamenco Spain Proyecto Lando/Cunamacué Collaboration Peru Ensambles Ballet Folklórico de San Francisco Mexico Ladzekpo Brothers & The African Music Ghana Purnima Jha India 21 Ensemble Zdravets Bulgaria Bulgaria Lakshmi Ramaswarmy India Raices Afro-Cubanas Cuba Local Artists Working with World Arts West, Who Depend on the Palace of Fine Arts for Performance and Opportunities

ABADÁ-Capoeira SF Perf. Troupe Brazil Ensohza Minyoshu Japan Larawan Philippine Dance Company Phillipines Raices de Mexico Mexico Abbos Kosimov Uzbekistan Eredet Folk Emsemble Hungary Las Bomberas de la Bahia Puerto Rico Renacer Folklorico Bolivia Bolivia Abhinaya Dance Company of San Jose India Escola Nova De Samba Brazil Las Que Son Son Cuba Rancho Folklorico A Portuguesa Portugal Academy of Chinese Performing Arts China Esperanza Del Valle Mexico Lasya Academy of Dance India Raquel Lopez Flamenco Dance Ensemble Spain Academy of Hawaiian Arts Hawaii Eszterlánc Hungarian Folk Ensemble Hungary Lasya Dance Company India Rara Tou Limen Haiti Afoutayi Dance Company Haiti FatChanceBellyDance Middle East Laurie Eisler India Rasa India African Queens Mali Fibi Vernier & Groupo Sol y Luna Spain L’Chayim Israeli Folkdancers Israel Reconnect and Haitian Cultural Club Haiti Aguas Da Bahia Brazil Filipiniana Dance Troupe Phillipines Leap of Faith Longsword England Red Thistle Dancers Scotland Aida Loussararian Tunisia First Congregational Christ Church of Samoa Samoa Les Bantas Sissa Kongo Congo Riordan Break Dance United states Al Robinson United States First Voice: Marku Izu and Brenda Wong Japan Lestari Indonesia Indonesia Roots of Haiti Haiti Alafia Dance Ensemble Haiti Flamenco de la Bahia Spain Leung’s White Crane Lion and Dragon Dance China Rosa Montoya Bailes Flamencos Spain Al-Fellahin Near and Middle East Flamenco Society of San Jose Spain LiberTango Dancers Argentina Roy Whitehawk United States Alicia Adame Y Aldo Ruiz Spain Flesh & Spirit Haiti LIKHA-Pilipino Folk Ensemble Phillipines Rumsen Ohlone Tribes Humaya Singers United States Alleluia Panis Phillipines Fogo Na Roupa Performing Company Brazil Lily Cai Chinese Dance Company China Russian Folk Ensemble Russia Amanda Geroy India Folklórico Latino de Woodland Mexico Liu and Han Chinese Dance China Ryukyu Mabui Kaiko Okinawa Amara Tabor-Smith Folklórico Nacional Mexicano de Elana Mexico Llactenchis of Peri Peru Sabjilar Siberia Arenas Dance Company Cuba Fook Sing Lion Dance Troupe China Lok Naach Performing Arts India Sacramento Taiko Dan Japan Asociación Cultural Kanchis Peru Forgatos Hungarian Music and dance Ensemble Hungary Lola Montes Spain Sahiyar Dance Troupe India Aswan Dancers Egypt Four Winds United States Los Danzantes de Aztlán de Fresno State Mexico Salaa-Paq Kmae: Apsara Cambodia Athira Pratap India Fua Dia Congo Congo Los Danzantes Alegria Mexico Salsanisimo Cuba “Azama Honryu Seifu Ichisen Kai USA Fuego Nuevo Ballet Folklórico Mexicano Mexico Los Flamencos de la Bodega Spain Sam Dos Cambodia Kinuko Mototake Okinawan Dance Academy” Japan Fujima Rokushige Japanese Classical Japan Los Lupeños de San Jose Mexico Samar Nassar Middle East Aztlan Dance Company O Sacramento Mexico and United States Gadung Kasturi Balinese Dance & Music Inc. Indonesia Los Tangueros de San Francisco Argentina Samba Do Coracao Brazil Bahia Y Tambor Venezuela Gamelan Sekar Jaya Indonesia Lourdes Rodriguez Spain San Francisco Celtic Dance Ensemble Ireland Bal Anat Eygpt Gen Taiko Japan Łowiczanie Polish Folk Ensemble of SF Poland San Francisco Taiko Dojo Japan Ballet Afsaneh Iran Ghungroo Dance Academy India Luis Valverde Peru San Jose Taiko Japan Ballet Folklórico Alma De Mexico Of SSF Mexico Grace Lee Grant Indonesia Maharlika Cultural Troupe Phillipines Sandhya Ram India Ballet Folklórico Anáhuac Mexico Greek American Folklore Greece Mahealani Uchiyama Nubia Sangre Brava Spain Ballet Folklórico Compañía Mexico Danza Mexico Greek Folklore Dance Company Greece Maika Zemja Bugaria Sangreet Group of California India Ballet Folklórico Costa de Oro Mexico Gregangelo Egypt Malia De Felice Tunisa Sanhiti India Ballet Folklorico Ensambles De San Francisco Mexico Group Petit La Criox Haiti Mambo Romero Cuba Sattriya Dance Company India Ballet Folklórico Jaliscience Mexico Grupo Aztlan de San Francisco Mexico Marcelo Solis and Romina Hahn Argentina Sewam American Indian Dance India Ballet Folklórico Mexicano De Carlos Moreno Mexico Grupo Folklorico Mexico Tenochotian Mexico Mariam Gaibova Tajikistan and Uzbekistan Shabnam Dance Company Middle East Ballet Folklórico Netzahualcoyotl Mexico Grupo Folclórico Alma Ribatejana Portugal Matija Gubec Croation Folklore Dance Croatia Shakti Dance Company of Northern California India Ballet Kizingou of Fua Dia Congo Congo Grupo Folklorico Alika de Naya de San Jose Mexico Melissa Cruz Spain Shanyin Amy Chang China Ballet Lisanga Congolese Performing Arts Company Guinea Grupo Folklorico Estanpas de Chile Chile Mercedes Metal y El Grupo Chispazo Spain Sharyln and Group Yasha Turkey Ballet Pampa Argentina Argentina Grupo Folklorico La Familia Mexico Mevlevi Order of America Turkey and United States Shreelata Suresh India Ballet Regional Mexicano Mexico Grupo Folklorico Paule Puerto Rico Michelle Thompson Russia Shrungaar Group of Northern California India Ballet-Saba West Afrika Dance Company Guinea, Senegal Grupo Utrera Spain Michiya Hanayagi Japenese Dance Studio Japan Shuang Hou and Xiamou Hou China Ballet Saungamare West African Dance Senegal Gumbo Ya Yas United States Mien Legends laos Shuvani Russia Bantaba Dance Ensemble Guinea Guru Shradha & Sujata Mohapatra Odissi Minoan Dancers Greece Sierra Pacific Academy of Scottish Art Scotland Barangay Dance Company Phillipines Haeja Kang Korea Miriam Peretz Uzbekistan Sindhu Ravuri India Barbary Coast Cloggers United states Hahbi’Ru Dance Ensemble Egypt Mission Chinese Club China Six From Hania Greece Bay Area Rapper Dancers England Hai Yan Jackson/Shannon Tse China Miyagi Ryu Ohtori Okinawa Slavonijo Kolo Ensemble Yugoslavia Berkeley Morris England Hala Dance Emsamble Egypt Moemoea Polynesian Dance Theatre United States Sohini Ray Manipuri Bhavajan Kumar Bharatanatyam Halau Hula Kaiwi O Ku’uipo Ohana Hawaii Mona Khan Company Emerging Performers India Sol de Espana Spain Bolivia Corazón de América Bolivia Hālau o Keikiali`i United States Mona Sampath Dance Company India Sonali Vepa India Brazil Dance Revenue Brazil Harambee Dance Ensemble Haiti Mountian International Dance Company Russia Sons of Samoa Tahiti, New Zealand, United States Brian Clearly Ireland Harsanari Indonesian Dance Company Indonesia Murphy Irish Dance Company Ireland Soulforce United states Caminos Flamencos Spain Hearan Chung Korea Murphy Irish dancers Ireland Spirits of Polynesia Pan Polynesia Carmen Grandos Spain Hiyas Philippine Folk Dance Company Phillipines Mythili Kumar India Sri Susilowati Indonesia Carola Zertuche Flamenco Company Spain Housin’ Authority United States Nā Lei Hulu I Ka Wēkiu Hawaii Steven Kent Australia Carolena Nericcio Middle East Hui Pa Hula O’Leianuenue Hawaii Na Mamo No’eau Hawaii Suciawani Balinese Dance Bali Ceedo Senegalese Dance Company Senegal Hui Tama Nui Tahiti Nancy Rose Azerbaijan Suhaila Dance Company Egypt Celtic Dance Ensemble Ireland Hula Halau Na Pua O Ka La’kea Hawaii Namah Performance Group Iran Sun Eagle Southern Singers and Dance United States Centeotl Grupo De Danza Y Baile Mexico Il Hyun Kim Korea Nanna Candelaria Middle East Sunanda Nair Kathakali, Mohiniattam Center for World Music Indonesia Imani’s Dream United states Natayana India Sunugal Ballet From Senegal Senegal Centro Cultural Baila Un Peru Peru Imhotep Dance Ensemble Senegal National Ballet of Zaire Zaire Swords of Barbary England Chaksam-Pa Tibetan Dance Company Tibet Indumathy Ganesh India Natyalaya Kuchipudi Swords of Gridlock England Chandra Ayu Davies Indonesia Instituto Mazatian Bellaa Artes Sacra Mexico Nava Dance Theatre Bharatanatyam Ta Whiti Aotearo New Zealand Charlotte Moraga India International Office of Campa Navarrete x Kajiyama Dance Theater Argentina Tabu Dance Ensemble Egypt Charya Burt Cambodian Dance Cambodia Izumi Sato India Nemesio Paredes Spain Tara Catherine Pandeya Uyghur Autonomous Cheikh Tairou M’baye and Sing Sing Rhythms Senegal Jazayer & Yazweena Egyptian Ensemble Egypt Neva Russian Dance Ensemble Russia and Moldavia Tarangini School of Kathak Dance India Chhandam Youth Dance Company India Jeff Raz United States Niharika Mohanty India Te Mana O Te Ra French Polynesia China Dance School and Theatre China Jenny Fong China Nimely Napla Pan African Dance Company Liberia Te Maoritanga Rima New Zealand Chinese American International School Mongolia Jose Francisico Barroso and Obakoso Cuba Nirkoda Israel Te Mau Tamari’I A Tiare Tahiti Chinese Dance and Music Association China Jubilee American Dance Theatre United States Nitya Venkateswaran India Temur Koride’s Children’s Dance Company Georgia Chinese Folk Dance Association China Julia Tsitsi Chigamba Zimbabawe Nlolo Kongo Congo Teocalli Mexico Chinese Performing Artist of San Jose China Jun Daiko Japan Nora y Nito Argentine Tango Argentina “The Ladies of Moani ke ‘Ala O ka Mailelauli’I & Chinese Performing Arts of America China J’vouvay Folk Performing Company Trinidad and Tobago Nordahi Grieg Leikarring Norway The Men of Ka I ho Makawalu A ka Kipu’upu’u” United States Chinyakare Ensemble Zimbabwe Jyoti Kala Mandir College of Indian Classical Arts India Northern California Korean Dance Association Korea Theater Flamenco of San Francisco Spain Chitresh Das Dance Company India Jyoti Rout India Northern California Okinawa Club Okinawa Thoissane African Senegalese Dance Company Senegal Chuna McIntyre United States K.P Kunhiraman India Nritta Katha School of Kathak Dance India Tonatiuh Mexico Chung Ngai Lion Dance Troupe China Kafka Fol Song and Dance Nunamta Yup’ik Eskimo Singers and Dancers United States Troupe Ghajjar Tunisia Clarie Yam China Kaiaulu United States Obakoso Drum & Dance Ensemble Cuba Troupe Tangier & Marhaba Morroco Coastal Pomo Indian Dancer of Point United States Kala Vandana Dance Center India Omulu Capoeira Group Brazil Tsai Hung Performing Arts Company China Colectivo Anqari Bolivia and Peru Kalanjali: Dances of India India OngDance Company Korea Uma Lyer India Collage Dance Ensemble Romania Kalilang Kulintang Ensemble Phillipines OREET Eygpt and Israel Umi Vaughan Compañía Mazatlan Bellas Artes Mexico Kanaka Sabha School of Bharatnatyam India Ote ‘a Api Tahiti United Indian Nations Dancers United States Constantinople Group Greece Kanchis Folklorico Dance Group Peru Otufelenite Tongan Dance Ensemble Tonga Urban Jazz Dance Company United States Cruz Luna Ole Ole Flamenco Company Spain Kantuta Bolivia Owo Ache Cuba U-Zulu Dance Theater South Africa Cuadro Iberico Spain Kariktan Dance Company Phillipines Padmini Srikantiah India Vidhya Sridhar India Cultural Heritage Choir United States Kariyushi Kai Okinawa Palabuniyan Kuintang Phillipines Virginia Iglesias and Alma Flamenca Spain Da Island Way Tahiti KaUa Tauhine Dance Company Tahiti Pampa Dance Academy India Vishwa Shanthi Dance Academy India Dana De Simone United States Kaulana Na Pua O Hawaii Dancers Hawaii Pampa y Estrellas Argentina Vistula Polish Dance Company Poland Dance Theatre of Om India Kavita Radhakrishnan India Pan Americn Dance Company El Salvador Vladimir Piazantsev Russia Dances of Pacific Tahiti Ken and Chelsea Argentina Parangal Dance Company Phillipines Wajumbe Brazil De Rompe y Raja Cultural Association Peru Kennelly Irish Dancers Ireland Parna Basu India Wan-Chao Dance Eurasia Dehcontee Liberian Dance Company Liberia Khadra International Folk Ballet Pan Europe Pasión Flamenca Spain Westwind International Folk Ensemble Bulgaria and Yugoslavia Diamano Coura West African Dance Company Guinea, Ivory Coast Kiyonomoto Ryu USA Classical Dance Group Japan Patricia Ines “La Rubia” Spain Wushu West China Dimensions Dance Theatre African Diaspora Kompiang Metri Indonesia Pejman Hadadi and The Namah Performance Persia, Spain Xipe Totec Mexico Drums Of Polynesia Polynesia Koraci Croatian Folklore Ensemble Croatia Peony Performing Arts China Xpressions India Dunsmuir Scottish Dancers Scotland Korean Youth Cultural Center Korea Peruvian Dance Center Peru Yaelisa Spain Ebbtisaam Nikol Egypt Kos Kadas Foloric Dancers Iran, Morocco, Turkey Peruvian Folk Dance Company Peru Yang Yang Dance China Edwardo Madril United States Ku’uipo ‘Anela ‘O Kalani United States Peruvian Folklore Company Peru YaoYong Dance China El Cuadro Ensemble Spain Ku’uipo Ohana United States Phillipine Performing Arts Phillipines Yaweena Tunisia El Gaucho Uruguay Kyoungil Ong Korea Podel-Fe Korea Yore Folk Dance Emsemble Turkey El Tunante Peru L.D.S Polynesian Dance Company Samoa Pomaikai Polynesian Company Tahiti, New Zealand, US Zambra Bailar Yalla! Morroco, Algeria El Wah Movement Dance Theatre Haiti L.O Sloans Jubilee Minstrels United States Prabhath Academy for Music & Performing Arts India Zhou Hui of Chinese Performing Artist China Elosia Vasques y su Caudro Flamenco Spain La Fibi Flamenco Dance Company Spain Presidio Dance Theatre Turkey Ziva Emtiyaz Cairo EMESÈ: Messengers of the African Diaspora Cuba and Brazil La Monica Spain Proyecto Cubano Cuba ZOOZ Dance Company Middle East English Country dance Society England La Tania Baile Flamenco Spain Proyecto Lando/Cunamacué Collaboration Peru Ensambles Ballet Folklórico de San Francisco Mexico Ladzekpo Brothers & The African Music Ghana Purnima Jha India 22 Ensemble Zdravets Bulgaria Bulgaria Lakshmi Ramaswarmy India Raices Afro-Cubanas Cuba The Artistic Legacy of the Palace of Fine Arts Theatre

Every cultural slice of the Bay Area has a stake in this facility – from the San Francisco Consular Corps There have also been many to the American West Coast Latvian Song Festival to the Chinese Culture Foundation to the East Bay special televised events Polish American Association to the Egyptian American Society – hundreds of organizations, including a Jay Leno Show tens of thousands of performers and presenters including the following: and Late Show with Non-Profit Arts Organizations College Art Association of America Opera California David Letterman. 1989 - 2014 Company C Contemporary Ballet Peninsula Ballet Theatre Culture Shock Oakland Persian American Cultural Center 826 Valencia A small selection of other Dancers’ Group Persian Cultural Foundation celebrity artists who have A Clean Well Lighted Place for Books / Poetry Ensambles Ballet Folklorico de San Francisco Philippino American Performing Artists Group Abraham Lincoln High School Varsity Foundation for Iranian Culture Pickle Family Circus performed at the Palace Gold Show Choir Funkanometry SF Dance Company Pocket Opera, Inc. of Fine Arts include: Academy of Art College Golden Gate Performing Arts Poetry Flash, Inc. Acción Latina DBA: Encuentro Del Canto Popular Hamazkayin Armenian Cultural Association Presidio Performing Arts Foundation • Ali Akbar African-American Shakespeare Company Hua Yi Performing Group Rosa Montoya Bailes Flamenco • Joan Baez Ali Akbar College of Music Hula Halau O Ku’uleinani Russian American Cultural Heritage Center, Inc. • Dana Carvey Alonzo King’s LINES Ballet Hye Cultural Society Ruth Asawa San Francisco School of the Arts • Tracy Chapman American Arab Cultural Exchange Foundation Iranian Cultural Foundation in U.S.A. San Francisco Ballet • David Crosby American Conservatory Theater Irish Arts Foundation San Francisco Blues Festival American Indian Film Institute • Celine Dion Japanese Cultural Community Center San Francisco Boys Chorus • The Drifters American Mideast Cultural Exchange Committee Jazz in the City San Francisco Children’s Musical Theater American Ramallah Federation Jewel of Persia San Francisco Ethnic Dance Festival • Whoopie Goldberg American Theater Arts For Youth, Inc. Justin S. Cummins Chorale, Inc. San Francisco Film Society • Journey American West Coast Latvian Song Festival Inc. Kalavant Center for Music and Dance San Francisco International Arts Festival • Modern Jazz Quartet Arab Cultural and Community Center Kanglong Group and Chinese Performing San Francisco Jazz Organization • Van Morrison Arcadia Bodybuilding Society, Inc. Arts Foundation San Francisco Mime Troupe • Michael Nesmith Artbeat, Inc Khadra San Francisco Museum of Modern Art • Procol Harum Artists In Motion Bay Area La Peña Cultural Center, Inc. San Francisco Opera • Tito Puente Asian American Arts Foundation Lamplighters Music Theatre San Francisco Performances Asian Art Museum • Dianne Reeves Latin American Film Society San Francisco School of the Arts • Riders in the Sky Asian Story Theatre Life on the Water San Francisco Scottish Fiddlers Barbary Coast Cloggers Likha Pilipino Folk Ensemble San Francisco Symphony • The Smothers Brothers Bay Area Flamenco LINES Ballet School San Francisco World Film Festival and • Sonny Rollins California Institute of Integral Studies Presents Ling Luen Drama Club Marketplace • Todd Rundgren Center for Asian American Media Film Festival Lucky Dragon Productions Smuin Ballet • Tandy Beal & Bobby McFerrin Chamber Theatre Productions, Inc. Magic Theatre Solo Flamenco • Robin Williams Chitresh Das Dance Company Maldonado Music Symphony Parnassus Children’s Theater Association of San Marin Opera Tarangini School of Kathak Dance Francisco Marina Classical Ballet Te Mau Tamari’i A Tiare Children’s Theatre Network Mevlevi Order of America The Bay Area Flamenco Partnership Chinese Culture Foundation of San Francisco Middle East Cultural Organization World Arts West Chinese Folk Dance Association Midsummer Mozart Yaelisa & Solera Flamenco Dance Company Chinese Performing Artists of America Mosaic Multicultural Foundation Young Performers Inc. Chinese Performing Artists of San Jose Na Lei Hulu I Ka Wekiu / Hawaiian Cultural Chinese Performing Arts Foundation Preservation Association Chinese Story Theatre Nagam Cultural Project Cine Acción Nemenzo Polynesian Dance Company Circus Center New World of Jewish Culture City Ballet School, LLC ODC/San Francisco 23 City Dance Studios Omni Foundation for the Performing Arts

“A great global city deserves a great global cultural institution, and Steve Jobs said, “you can’t connect the dots looking forward; you what could be a more fitting future for the iconic Palace of Fine can only connect them looking backward.” World Arts West’s Arts than to become a vibrant home for exploring, experiencing, proposal for the Palace of Fine Arts connects the dots by respecting and celebrating arts and culture from around the world? What a the past of this historic venue and transporting us through the great way to honor the legacy and purpose of this historic site, and present to the future that San Francisco envisions. With a world to showcase the global cultural vitality and spirit of adventure that view inspired by the Exposition of 1915 and the birth of the United makes San Francisco special!” Nations, and shaped by technology, the proposal offers a unique — opportunity for our City, through the magic of dance, music, the - Srinija Srinivasan, performing and other arts, to inform and entertain local, national Technology leader, Chair of the Board of Trustees of SFJAZZ for six years and international audiences. throughout the planning and campaign for the new SFJAZZ Center, and co-founder of Loove — Hon. Marilyn Hall Patel United States District Court Judge (Ret.)

“Center of Global Arts and Culture will be a tremendous asset to the cultural landscape of our City, that truly reflects the diverse “You need beauty and peace to background of its people.” experience cultural nourishment.” — Julia Cheng — Alice Waters Arts Trustee, Philanthropist, Long-time Neighborhood Resident Sustainable food movement pioneer, Founder and Owner of Chez Panisse

This is a one-of-a-kind historic theater already serving it’s highest and best use. It is without equal. The seating capacity, the stage I can’t think of a better use for the Palace of Fine Arts than dimensions, the unusually large backstage which can accommodate preserving it for the public experience of world-class global and hundreds of dancers are attributes which do not exist at any other new cultural expressions. theater in the city. This is a once-in-a-century chance to secure a showcase for the It would be a tragedy if this theater is repurposed for some other region’s immense diversity of peoples and world-class expressions commercial use with restricted public as well as to bring in world-class performances that enrich all access. We must honor it’s cultural history, not for the sake of traditions. nostalgia but because it is literally, physically irreplaceable. — — Jan Farren SVP, Senior Managing Director Patrick Makuakane Marketing, Communications & Professional Development Hawaiian Kumu Hula and Ascent Private Capital Management of U.S. Bank Producer of annual Hula Show at the Palace of Fine Arts Theatre for 15 years 24