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SC Arts Commission Grants for Individual Artists

Before applying, you are strongly advised to discuss your project with Julianne Carroll, Program Director for Folklife and Traditional Arts, in order to determine if your project meets the guideline requirements. Should you have questions or need assistance when completing this application, please do not hesitate to contact her at jcarroll@arts.sc.gov or 803-734-8764.

 

Application Deadline - March 15

Applications must be postmarked or hand-delivered to the South Carolina Arts Commission offices before 5:00 pm no later than the stated date, or, when the deadline occurs on a weekend or holiday, no later than the next business day.

 

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Description

The Traditional Arts Apprenticeship Initiative assists in the transmission and reinforcement of cultural skills and knowledge by providing funds for a Master Artist's time and assisting an Apprentice and a Project Coordinator with the cost of travel and necessary materials.

 

The purpose of the Traditional Arts Apprenticeship Initiative is three-fold: it is meant to support Master Artists who seek to pass their artistic and cultural knowledge to qualified Apprentices; to provide Apprentices with an opportunity to advance their cultural and artistic knowledge to a higher level so that they may continue to pursue the art form beyond the life of the apprenticeship; and to document the work and instruction of the Master Artist.

 

Apprenticeship projects are required to have a Project Coordinator to handle the details of the project so that the Master and Apprentice may concentrate on the lessons.

 

The Project Coordinator:

• Gathers information and signatures from artists and is responsible for submission of all paperwork by deadline
• Must be a graduate of the Institute for Community Scholars. (If the artists do not know of a Community Scholar, contact the Program Director for Folklife and Traditional Arts for assistance.)
• Works with the Master and Apprentice to establish a work plan for the apprenticeship and confirms that scheduled lessons are taking place
• Creates a press release and distributes to the local media
• Ensures that all contractual requirements are met
• Serves as the primary contact throughout the course of the apprenticeship. If problems are encountered during the project, it is the responsibility of the Project Coordinator to inform the Program Director for Folklife and Traditional Arts in a timely manner
• Produces final project report

 

It is also the responsibility of the Project Coordinator to document the work of the Master and Apprentice over the course of the project. Ideally, we would like to have photographs, video and audio, but we realize that Project Coordinators may not have access to equipment that would allow this. Project Coordinators will be required to submit at least one form of documentation (audio recordings, photographs, or video recordings) with the final project report. Once the final report is accepted by the SC Arts Commission, the documentation will be deposited in the Folklife Resource Center at McKissick Museum, University of South Carolina.

 

The Master Artist and the Apprentice are required to:

• Work with the Project Coordinator to complete the apprenticeship application and meet deadlines for all paperwork
• Work with the Project Coordinator to establish and adhere to a lesson schedule
• Notify the Project Coordinator of any changes to the lesson schedule
• Make themselves available to the Project Coordinator for interviews and documentation of the project

 

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Funding

Award funds of $2,750 will be distributed in the following manner:

• The Master Artist will receive $2,000 to compensate for his/her time
• The Apprentice will receive $250 to assist with travel and supplies
• The Project Coordinator will receive $500 to assist with the cost of travel and necessary materials and to compensate for his/her time

 

Apprenticeship Period

Apprenticeships last 10 months and all activities must occur between July 1 and May 1, leaving time for completion and submission of the final report.

 

Documentation

Documentation from the Traditional Arts Apprenticeship Initiative will be deposited in the Folklife Resource Center at McKissick Museum, University of South Carolina. It will be made available for historical and other academic research and public distribution. Public use of documentation extends only to educational and non-profit uses. Permission is required for for-profit commercial uses.

 

Eligibility Requirements

Applicants must be residents of South Carolina and reside in the state during the apprenticeship period.

 

Restrictions

• Modern interpretations of traditional art and revivals of traditions that have ceased to exist within the originating culture will not be funded.
• This program does not support beginning-level students.
• Priority for funding is given to projects focusing on traditional arts considered to be endangered.

 

Review Process

A panel composed of professionals representing the field of folk studies will review and rate the apprenticeship applications on the basis of specific criteria listed in the guidelines. Staff will develop funding recommendations based on results of the panel review. Final funding decisions are approved by the SC Arts Commission's Board of Commissioners.

 

Review Criteria

The review panel will review each Traditional Arts Apprenticeship Initiative application using the review criteria provided. While the narrative questions are based on the review criteria, please be sure to read the criteria and make certain that your application provides the information the panel needs to make an informed decision.

 

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Required Application Materials

Each page/item must be labeled with the name of the Master Artist and be submitted in a format suitable for copying. Typeface must be legible and no less than 12 point. Do not use 3-ring binders, folders, or bind the application materials in any way other than with binder clips or paper clips.

 

The application package must include one complete collated set of the following items (numbered 1-6):

 

1. Contact Information Form (PDF)

To complete this form, provide contact information for the Master Artist, Apprentice, and Project Coordinator. The completed form must then be signed by each of the three participants.

 

Forms are in Portable Document Format (PDF). How To Use PDFs

 

2. Narrative

The narrative should not exceed four pages and must answer the questions below. Please list the letter and topic heading (i.e., A. Master Artist) and list the questions along with your answers. Panelists will use the Review Criteria to guide them as they review and rate your application. Please read the Review Criteria before answering the narrative questions and keep them in mind as you complete the application.

 

A. Master Artist

1. How, where, when, and from whom did s/he learn the traditional art form s/he wishes to teach? How long has s/he been a practitioner of this art form?
2. What role does this art form play in the Master Artist's life?
3. What is the relationship of the artist to the community within which the traditional art is practiced?
4. Describe current significance of the traditional art form in the community and any threats to its continued practice.
5. Since learning the traditional art, has the artist continually practiced it? Please explain if there have been interruptions in the practice.
6. When and for whom does the artist perform this tradition?
7. Has the artist previously taught the art form? When? How long? To whom?
8. What does the artist hope to achieve by teaching his/her traditional art?
9. Why does the artist believe the person whom he/she plans to teach will make a good Apprentice?

 

B. Apprentice

1. Provide evidence to demonstrate that the Apprentice possesses the knowledge and experience needed to learn this traditional art form.
2. What is the relationship of the Apprentice to the Master Artist?
3. What is the relationship of the Apprentice to the community within which the traditional art is practiced?
4. What does the Apprentice hope to achieve through this project?
5. The Traditional Arts Apprenticeship Initiative is intended to help the Apprentice build a solid foundation so that s/he may continue the study of the art form beyond the life of the apprenticeship. How does the Apprentice plan to pursue the study of the art form once the apprenticeship is completed?

 

C. Project Coordinator

1. As the Project Coordinator, what strengths do you feel you will bring to the project? (i.e., strong interest in documentation)?
2. What is your relationship to the Master Artist? to the Apprentice?
3. Do you believe the Master and Apprentice are appropriately matched? Please explain.
4. Do you have experience working with the media? Award recipients will be required to submit at least one press release to the local media announcing the award. To determine your ability to do so, please provide the panel with a sample press release announcing receipt of the award and highlighting the skills of the Master and Apprentice as well as your participation in the project. If you would like to use a template created by the SC Arts Commission, please contact the Program Director for Folklife and Traditional Arts.

 

 

3. Work Plan

1. Skills – List the skills and techniques that will be taught over the course of the apprenticeship. (For example, what styles will the Apprentice learn, what objects will s/he make, etc.?)
2. Goals – What goals have the Master Artist and Apprentice agreed to achieve? (For example, how many baskets will the Apprentice weave? How many tunes will be learned? How many instruments will be made?)
3. Schedule – Provide a list of the dates, locations, and length of lessons planned. Please note that the Program Director for Folklife and Traditional Arts will make at least one site visit during the course of the apprenticeship.

 

4. Résumés/Biographies

Please provide brief résumés or biographical summaries for the Master Artist, Apprentice, and Project Coordinator. Individual résumés/biographical summaries must not exceed one page. Pages beyond this limit will not be submitted to the review panel. If your experience does not fit a traditional résumé, you may provide a list of shows or festivals in which you have participated, a list of recordings you have made, or similar information.

 

5. Support Materials

Support materials reinforce the information you have provided in your narrative and help the review panel to assess your skills, commitment to the art form, and your community involvement.

 

1.    Master Artist
   • Recordings (audio and/or video), if available
   • Photographs of the artist's work or of the artist performing, if available
   • Letters of support (two or more letters must be submitted with your application) - Letters of support assist the panel in understanding the artist's skill level, the likelihood that the artist will be a successful teacher, and the artist's involvement in the community.
   • Samples of any media coverage (i.e., newspaper articles)

 

2.    Apprentice
   • Recordings (audio and/or video), if available
   • Photographs of the Apprentice's work or of the Apprentice performing, if available
   • Letters of support (two or more letters must be submitted with your application) - Letters of support assist the panel in understanding the apprentice's skill level, the likelihood that the artist will be a successful apprentice, and the artist's involvement in the community.
   • Samples of any media coverage (i.e., newspaper articles)

 

3.    Project Coordinator
   • Writing samples, photographs, video, or audio created by the Project Coordinator, if available
   • Letters of support (two or more letters must be submitted with your application) - Letters of support assist the panel in determining the applicant's ability to successfully document the apprenticeship and meet the requirements of the contract.

 

6. Public Component

The Master Artist and Apprentice are requested, but not required, to create an event to which the general public is invited. The purpose of the public component is to introduce the traditional art form to the larger community. Funds awarded by the SC Arts Commission may be used to help create the public event. While the public component is not required, inclusion may result in a stronger application. The public component does not have to be elaborate. As an example, a Master Artist teaching the Apprentice blues guitar may perform at a local venue or festival. Basketmakers may display the work created during the apprenticeship at a local museum or festival. Applicants should consider what type of public program might be appropriate. Please provide a brief description of any public component planned.

 

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Award Payments

Half of the award will be paid upon receipt of all required paperwork (signed contracts, signed payment request, all W-9 forms, etc.). The remaining balance of the award will be paid upon receipt and approval of the final report.

 

Final Report

All fund recipients are required to file a Final Report (PDF) (How To Use PDFs) at the end of the apprenticeship. The Final Report Due Date is printed on your contract. Failure to file the final report by the due date will result in cancellation of the award, at which time any funds received must be repaid to the SC Arts Commission. The SC Arts Commission will not fund applicants who have outstanding final reports. Do not submit copies or fax your final report form. We will only accept original final report forms with original signatures.

 

 

For additional information, please contact Julianne Carroll (803-734-8764), Program Director for Folklife and Traditional Arts.