{"id":295,"date":"2015-07-13T15:15:09","date_gmt":"2015-07-13T22:15:09","guid":{"rendered":"http:\/\/dcaredesign.org\/grants\/?page_id=295"},"modified":"2021-08-09T16:52:07","modified_gmt":"2021-08-09T23:52:07","slug":"terminology","status":"publish","type":"page","link":"https:\/\/dcaredesign.org\/grants\/terminology\/","title":{"rendered":"Terminology"},"content":{"rendered":"

Glossary of Terms<\/strong><\/p>\n

1:1\u00a0match<\/strong>\u00a0(see also\u00a0Matching Funds<\/strong>): A one to one (1:1) match means that the applicant must raise a dollar from other sources for every dollar requested. Since DCA receives its civic resources from taxes, applicants\/grantees\/vendors are strongly encouraged to develop their matching-funds without raising ticket prices to levels which are unaffordable for the average regional family.<\/p>\n

Administrative personnel:\u00a0<\/strong>administrative, clerical, and support staff specifically identified with the non-artistic aspects of a project or organization.<\/p>\n

Affirmative action:\u00a0<\/strong>action or activity to secure employment for members of underrepresented groups to bring about population parity.<\/p>\n

Artistic personnel:<\/strong>\u00a0artists in any discipline of art, as well as artistic directors, conductors, curators, composers, choreographers, designers festival programmers, photographic documentarians, lighting technicians, sound engineers, stage managers, stagehands, video documentarians, among others.<\/p>\n

Arts prototype school:\u00a0<\/strong>\u00a0a school designated by the Los Angeles Unified School District (LAUSD) which has demonstrated its commitment to integrating the arts into its overall curriculum as prescribed by the LAUSD Visual and Performing Arts Learning Standards.<\/p>\n

At-risk, at-greater-risk,\u00a0<\/strong>and\u00a0at-greatest-risk youth\u00a0<\/strong>(see also\u00a0Youth<\/strong>):\u00a0<\/strong>Many risk factors affect the lives of our City\u2019s youth, including poor living conditions, domestic violence, lack of access to education, poor language development, lack of sex education, poor nutrition, crime, gangs, drugs, physical \/mental disability, lack of access to health-care, joblessness, isolation or homelessness. Most youth are at-risk for one or two of these factors. When children experience three or four factors, they are considered at-greater-risk. When five or more factors are present in a child\u2019s environment, s\/he is considered at-greatest-risk<\/p>\n

Audience development:\u00a0<\/strong>a combination of comprehensive strategies that strengthen relationships among audiences, the artistic discipline, and the arts organization. Effective audience development is incorporated into the full range of an organization\u2019s activities, including programming, operations, marketing and public relations, education and outreach, and development. The goals of audience development are increasing awareness of, and participation in, the activities of the arts organization. The activities can include but are not limited to, attendance at exhibitions\/ performances. This involvement can and should manifest itself in ways that extend beyond ticket sales, to participation in the organization\u2019s leadership, volunteer core, and donor groups, or voicing support for the organization and its value in the community.<\/p>\n

Board development:\u00a0<\/strong>the recruitment of individuals to serve as volunteer members of an organization\u2019s board of directors to strengthen the organization in a specific way.<\/p>\n

City council districts\/ Council district borders<\/strong>\u00a0see: links on the FAQ tab<\/p>\n

Collaboration:\u00a0<\/strong>\u00a0a partnership between one or more organizations or individuals in planning and executing part or all of a proposed project. Collaborations involve shared responsibilities, and may or may not involve shared financial resources.<\/p>\n

Community outreach:\u00a0<\/strong>consciously developing a presence in an organized political, municipal, or social body of people through projects and programs.<\/p>\n

Contract fees and services:<\/strong>\u00a0project payments to firms or persons for services by persons not benefited as employees or an applicant organization such as consultants, contractors, and temporary coordinators. Such payments are broken out amongst \u201cArtist Commission Fees,\u201d \u201cArtists & Performers \u2013 Non-Salaried\u201d and \u201cHonoraria\u201d in the Proposal Expenses.<\/p>\n

Contributed income:\u00a0<\/strong>funds that are received usually as a result of a request to a government entity, private corporation or foundation, or an individual.<\/p>\n

Demographics:\u00a0<\/strong>\u00a0understood as a statistical picture by Cultural Affairs standards, this information includes gender, family organization, ethnic community, geographical place, economic class, religious affiliation, age group, sexual orientation, and other data. In order for the City to support diverse services, it is necessary for applicants to submit statistics about proposed project staff and estimated audiences.<\/p>\n

Depreciable assets:\u00a0<\/strong>any tangible items used in operations that have an expected useful life of more than one year, e.g., buildings, furniture, computers, etc. These are also known as fixed assets.<\/p>\n

Design \/ Visual Arts:\u00a0<\/strong>\u00a0all forms of design including architecture, urban design, landscape design, historic preservation, graphic design, and fashion design. Cultural Affairs recommends that design applicants submit CD with ten images as their Artistic Work samples.<\/p>\n

Disencumbrance:\u00a0<\/strong>\u00a0releasing funds that have been reserved (through encumbrance) for a specific purpose.<\/p>\n

Diversity:\u00a0<\/strong>\u00a0the fact or quality of difference in terms of ability, age, belief, culture, ethnicity, gender, language, race and sexual orientation.<\/p>\n

D-U-N-S number:\u00a0<\/strong>\u00a0a nine-digit \u201cD<\/strong>ata\u00a0U<\/strong>niversal\u00a0N<\/strong>umbering\u00a0S<\/strong>ystem\u201c number issued by Dun & Bradstreet, a company that provides business information for credit, marketing and purchasing decisions.<\/p>\n

Earned income:\u00a0<\/strong>revenue derived from fees through the sales of services (workshop fees, performance fees, tuition revenue, concessions, parking fees, etc.) and\/or the sale of products (artworks, posters, postcards, books, t-shirts, coffee mugs, etc.). Break out investment\/interest income as a separate source, under \u201cOther Earned Income.\u201d<\/p>\n

Evaluation plan:\u00a0<\/strong>\u00a0Every project elicits some public feedback. Ticket sales and applause are two indicators of success. Thoughtful projects incorporate one or more deeper strategies to elicit and document effectiveness, such as intermission\/post-curtain question and answer sessions with the audience, audience surveys, response cards, membership\/subscriber attendance, participant\/artist interviews, or the number and quality of congratulation letters. The best strategies are integrated and audience-friendly, yet provide detailed qualitative and quantitative information. Notice the way the Grant Program surveys you with the Cultural Diversity Research Page and the DCA Grant Process Evaluation Page portions of the grant application. These are two places to start thinking about how and what kinds of information you can poll from your clientele. Honest interpretation of your research may lead to better business. If you are seasoned at evaluating your programs, include information about how you have already integrated past research into your proposed plans.<\/p>\n

Evaluator:\u00a0<\/strong>an authority, often outside the organization, who is able to estimate the quality and\/or effectiveness of a project by\u00a0careful appraisal and study. Cultural Affairs recommend that an organization hire a professional evaluator to determine the effectiveness of its project for its evaluation plan.<\/p>\n

Festivals:\u00a0<\/strong>\u00a0although this term often refers to a regularly recurring program of cultural performances, exhibitions, or competitions, DCA\u2019s festival category is limited to single-site public venue outdoor events. Grant applicants for\u00a0outdoor<\/u>\u00a0festivals or parades held in one public space or walking area over one or two days should apply to the Outdoor Festival and Parades Program. Nonprofit organizations with events such as concert series, film festivals, or touring presentations indoors or at multiple sites should submit grant applications\u00a0under the appropriate artistic discipline, e.g., music, multidisciplinary, etc.<\/p>\n

Field Advocacy &Sector Learning:\u00a0<\/strong>discipline specific or general forms of arts community development including workshops, seminars, symposia and educational services. Cultural Affairs recommends that\u00a0Business Management \/ Advocacy for the Arts\u00a0applicants submit a Work Sample that best suits their proposed service (i.e. applicants proposing publications send printed materials, applicants proposing workshops should send video of a workshop).<\/p>\n

Fiscal year:\u00a0<\/strong>\u00a0for the City of Los Angeles, the fiscal year begins on July 1 and ends on June 30 of the following year. For an organization, it is the 12-month period for which it plans the use of its funds.<\/p>\n

Fully executed:\u00a0<\/strong>\u00a0approved and signed by all concerned parties; the term usually applies to a contract.<\/p>\n

General operating support:\u00a0<\/strong>\u00a0funds given to assist with the defraying of expenses associated with operating the organization.<\/p>\n

Government support:\u00a0<\/strong>\u00a0cash support derived from grants or appropriations, by other agencies or divisions of federal, state, regional or local governments, or a proportionate share of such grants or appropriations allocated for the proposed project.<\/p>\n

Grantsmanship:\u00a0<\/strong>\u00a0a process in which a nonprofit organization or individual artist attempts to secure a grant. This process has three major parts:<\/p>\n