conversations.from: human
conversations.value: Give me a description for a book titled Guide to Getting Arts Grants about div>the, Cairo, Egypt with the genre: Business & Money, Management & Leadership.
conversations.from: assistant
conversations.value: <div>the author has worked in the nonprofit and grant-making sectors of philanthropy for nearly 30 years and has taught grant-writing for almost 15 years. She has been both a foundation director and a program officer. She currently lives in Cairo, Egypt, where she works for Ishraq, a development project of the Population Council.</div>
conversations.from: human
conversations.value: Give me the first five paragraphs for this book.
conversations.from: assistant
conversations.value: Guide to Getting Arts Grants
  At the heart of my school residencies is the creative process. Whether we're writing songs together, making our own musical instruments, exploring songs through stories or arts projects, music feeds our spirits, connecting us in deep and universal ways. Selfexpression and community connection form a strong dynamic, bringing a better understanding of ourselves, our world.
  All of these artists describe what they do with a classroom of students. They provide information about programs and activities, samples, and ideas that can be commissioned for hire. More than that, they tell you who they really are through their work. They talk about their artistic process in ways that you can understand, and they include a list of awards, accomplishments, and special and personal interests.
  We won't spend time writing one of these out, since they are pretty straightforward, but I wanted to give you an idea of the kinds of residencies that exist and those that are part of many state arts programming.
  Now, let's look at a few examples of individual artists receiving grants from state funders. Although it isn't the case across the board, grant size is smaller generally for these programs, since one of the main aims is to fund as many artists as possible. Here are a few examples, again from my home state of Minnesota. Note, they are very specific and resonate with the focused tone of the fellowship plans we have worked on so far:
  As you become more familiar with the requirements for applications, you will see the similarities between state and private funders. Even though each has its own language and calls things by different names, some aspects may seem similar. For instance, private funders host informational meetings to help answer questions about the application process. Public funders have similar meetings, but because public monies are sometimes viewed as contracts and not grants, a public entity might call these meetings "bidders' conferences." Same utility, same focus, only they use a different name.
conversations.from: human
conversations.value: Give me five more paragraphs.
conversations.from: assistant
conversations.value: The following is an example of what grantmakers usually see in response to this section. Like the budgeting aspects of grantwriting, evaluation has people running into the hills mostly because they don't understand it.
  Increase the number of students who can express their talents comfortably singing or performing musically with their peers.
  In the example that we have been working with, where you are introducing music to a new group of youth, a way to quantify this would be to identify the number of people there are in any given client or consumer group that you are working with. Then identify a fair estimate of the number of people who will be affected by this. For instance, in this case approximately forty-five children will be introduced to music. So that is one quantified result. But it is only the first layer of program impact; try to think deeper and see where it leads.
  You may ask, of the forty-five children, how many will choose to study music long term, since that would be an interesting outcome. Also, if you recall, this program was a diversion from teens getting into trouble, and thus it would provide an outlet for them. You could identify a reasonable estimate of how this could lead to a decrease in delinquent behavior, if you choose to identify the number of police calls made to this neighborhood, and/or the numbers of altercations and incidents of youth misbehavior.
  Let's use quantifiable methods to rethink our outcomes, to make the impacts as relevant as possible to the community. With the idea that this program will prevent teens from doing harm to themselves and the community, you could rewrite the following:
conversations.from: human
conversations.value: Give me the last five paragraphs.
conversations.from: assistant
conversations.value: Have the financial manager, director, or a person who understands the organization's financial statements be present and ready to answer budget questions. You, as the artist or representative, may not understand all of the financial aspects of the organization or project, but it does bode well if you can speak to some of the questions and issues the funder may have.
  Don't automatically reapply if you have received a decline; it is great to be tenacious, but you should first find out why you were declined.
  You have arrived at the final chapter and treatise on getting arts grants. You have done an amazing amount of work, and as technical as this field may seem to be, you have learned much about the culture of philanthropy and grantmaking.
  This chapter allows us to come full circle and return to the place where we began: the place of the independent artist and creative individual who is now prepared and ready to embrace a creative life, knowing that support is out there for his endeavors.
conversations.from: human
conversations.value: Add another sentence about grantseeking, making.
conversations.from: assistant
conversations.value: Have the financial manager, director, or a person who understands the organization's financial statements be present and ready to answer budget questions. You, as the artist or representative, may not understand all of the financial aspects of the organization or project, but it does bode well if you can speak to some of the questions and issues the funder may have. 
  Don't automatically reapply if you have received a decline; it is great to be tenacious, but you should first find out why you were declined. 
  Do try to understand the other side of grantseeking and that foundation staff are human beings, too; they do not relish making declines. 
  You have arrived at the final chapter and treatise on getting arts grants. You have done an amazing amount of work, and as technical as this field may seem to be, you have learned much about the culture of philanthropy and grantmaking. 
  This chapter allows us to come full circle and return to the place where we began: the place of the independent artist and creative individual who is now prepared and ready to embrace a creative life, knowing that support is out there for his endeavors.