#Guild of Spanish Property Professionals

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NYFA Source | Hurricane Florence Resources Round-Up

Help is available for artists in the Carolinas, Virginia, and other areas affected by Hurricane Florence. 

Finding the right recovery resources in times of need can be difficult and stressful. As the East Coast begins its rebuilding effort, we rounded-up organizations that can offer you the assistance you need to begin this challenging process. Along with general emergency relief, here are a few resources that address the specific needs of artists in such situations. 

Find Help Through NYFA Source 

Additional information on Current Disaster Resources, Emergency Grants, Legal Resources, Public Assistance, and more can be found on NYFA Source, an online arts database with over 12,000 resources and opportunities for artists in all disciplines. Artists can also call the NYFA Source Hotline at (800) 232-2789, from Monday - Friday, 3:00 - 5:00 PM EST or email source@nyfa.org.

Power of Social Media

Keeping an eye on your social media feeds is also a good way of gaining access to information. For those in South Carolina, Richland Library listed several Twitter accounts to follow for live updates. They include local news outlets, and local and state government entities. For other regions, see FEMA’s round-up of social media channels to monitor.

Government Assistance

Natural disasters like hurricanes can lead to loss of income from your practice or business, and/or loss of property. Individuals in North Carolina affected by Hurricane Florence might be eligible for Disaster Unemployment Assistance (DUA). Information about other impacted states hasn’t been disclosed yet. To apply for Disaster Assistance, scroll down through FEMA’s Hurricane Florence Portal.

Loans and other assistance from the U.S. Small Business Administration (SBA) are available for affected areas in the East Coast. If you need help in these application processes, read CERF+’s Tips for Working with FEMA + SBA. 

Additionally, check the IRS for potential tax relief for those affected by the hurricane. For other information, including what to do when returning home, avoiding charity fraud and false rumors, and more, check USA.gov. 

Arts and Culture-Specific Resources

Check this post in the coming weeks for updates and added resources as the recovery process continues. *Updated October 12, 2018

Actors Fund of America Emergency Assistance: For all performing artists and those working in entertainment. Eligible individuals can apply online for assistance, and individuals affected by Hurricane Florence can also contact the New York City office, at (212) 221-7300, ext. 119 or intakeny@actorsfund.org.

Alliance of Artists Communities Emergency Funds for Individual Artists: The fund disburses mini-grants of up to $1,000 to artists who have already been accepted and scheduled for a residency, but who would not otherwise be able to participate due to a sudden change in circumstances. The Alliance also serves artists affected by natural disasters by mobilizing its network of residency programs to offer residencies to eligible artists. This process is activated as-needed, and will be announced by the Alliance online, through CERF+, and throughout its network.

American Society of Journalists and Authors: Offers The Writers Emergency Assistance Fund, which helps established freelance writers who, because of illness, disability, a natural disaster, or an extraordinary professional crisis are unable to work.

Artists’ Charitable Fund: Artists who need financial assistance because of medical, fire, or other disaster should email Fund Coordinator Judy Archibald at cnynsprt@aol.com or call her at (970) 577-0509.

Artists’ Fellowship, Inc. Financial Assistance: Provides emergency aid to professional fine artists and their families in times of sickness, natural disaster, bereavement, or unexpected extreme hardship.

Authors League Fund: Provides assistance to professional writers and dramatists who find themselves in financial need because of medical or health-related problems, temporary loss of income, or other misfortune.

Book Industry Charitable Foundation Immediate and Post Disaster Assistance: Assists with specific unforeseen emergency financial needs of a bookstore employee and their immediate family members living in the same household.

Broadcasters Foundation of America: To be considered for the program, applicants must work in radio and/or television broadcasting and be in acute financial need due to hardships faced by a recent hurricane, flood or other natural disaster. 

Carnegie Fund for Authors: Awards grants to published authors who are in need of emergency financial assistance.

CERF+ Emergency Financial Relief: Provides financial assistance for eligible artists who work in craft disciplines, and tips for safety and studio protection for artists of all disciplines. Application guidelines are available in Spanish. CERF+ has also compiled a comprehensive guide to recovery from Hurricane Florence.

Dramatists Guild Fund Kesselring Emergency Grant: Awards one-time emergency grants to individual playwrights, lyricists, and composers in need of temporary financial assistance due to unexpected illness or extreme hardship.

Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC): The free Emergency Response and Salvage Wheel Mobile App is designed for anyone in need of practical advice for saving collections or items in the first 48 hours after a disaster. Additionally, the National Heritage Responders Hotline can be reached 24/7 at (202) 661-8068 for conservation advice and referrals.

Hero Initiative Grants: Provides assistance for eligible comic book writers, pencilers, inkers, colorists, or letterers on a work-for-hire basis.

Jazz Foundation of America Jazz Musicians Housing and Emergency Assistance Program: Provides a wide range of social services for jazz musicians.

Joan Mitchell Foundation Emergency Grant: Emergency support to artists working in the mediums of painting, sculpture, and/or drawing after natural or manmade disasters.

Motion Picture and Television Fund: Provides temporary emergency financial assistance to qualified industry members experiencing financial hardship due to illness, disability, unemployment, or other reasons.

MusiCares® Emergency Financial Assistance: This program is available to music people who have experienced an unavoidable emergency. Eligibility consists of documented employment in the music industry for at least five years or credited contribution to six commercially released recordings or videos. Contact the MusiCares South Region Office at 1-877-626-2748.

Musicians Foundation Support: Provides aid for musicians of any genre in a time of acute need, due to personal, medical, dental, or family crisis, natural disaster, or other emergency situation.

North Carolina Arts Council: The North Carolina Arts Council has gathered national and statewide resources for artists and arts organizations; find those resources here.

PEN Writers’ Emergency Fund: Provides emergency funding for professional—published or produced—writers in acute, emergency financial crisis.

Pioneers Assistance Fund (PAF): Serves members of the motion picture entertainment industry (exhibition, distribution, and trade services) who are encountering an illness, injury, or life-changing event. All assistance is intended to provide support during a recovery or adjustment period and lay the foundation for a lifetime of ongoing success.

Rhythm & Blues Foundation Financial Assistance: Provides financial and medical assistance to Rhythm & Blues artists of the 1940s through the 1970´s, as well as a support system to help identify other sources of assistance.

SAG-AFTRA Disaster Relief for Members Affected by Hurricane Florence: The SAG-AFTRA Foundation and the SAG-AFTRA Motion Picture Players Welfare Fund have created a special Disaster Relief Fund to provide urgent financial support to members affected by the recent hurricane and flooding. They are partnering with The Actors Fund to administer the relief efforts on the ground, ensuring all SAG-AFTRA members receive the help they need.

South Carolina Arts Commission: The South Carolina Arts Commission has gathered recovery and preparedness resources for artists and arts organizations.

The Adolph & Esther Gottlieb Foundation Emergency Grant: Provides interim financial assistance to qualified artists whose needs are the result of an unforeseen, catastrophic incident, and who lack the resources to meet that situation.

The Haven Foundation: Gives financial assistance to provide temporary support needed to safeguard and sustain the careers of established freelance artists, writers, and other members of the arts and art production communities who have suffered disabilities or experienced a career-threatening illness, accident, natural disaster or personal catastrophe. Your application and supporting documentation for the current round of grants must be received by November 10, 2018.

How You Can Help

As eager as we are to help those in need when a disaster happens, be mindful of what you donate and to whom you donate. Before lending a helping hand, make sure to read these Guidelines for Giving from the Center for International Disaster Information (CIDI). Pages like Charity Navigator’s Relief for Hurricane Florence are a good place to research reputable charities, from food banks to animal care. To learn how to help local artists, please revisit this post at a later time. We’ll come back with additional information as soon as we learn more. 

To find more resources and opportunities, use NYFA Source, a free searchable database of 12,000+ awards, residencies, and services.

- Luiza Teixeira-Vesey, Designer and Marketing Associate

Image: Gabe Brown (Fellow in Painting ‘18), Red Hot, 2016, oil on linen over wood panel (detail)

[mmckenziefreelance]

by Melissa McKenzie                        

Those looking for the feel of an authentic European-style holiday market don't necessarily need to travel beyond the Midpeninsula. The region is home to a growing number of  holiday pop-up markets, each with its own cultural flair and one-of-kind handcrafted items.

Looking for handcarved nutcrackers from Germany? Head to downtown Mountain View's German market, where you might even encounter the mythical Krampus roaming the outdoor vendor booths looking for children who have misbehaved. Craving Parisian breads or looking for handmade scented soaps? The French market in Palo Alto includes an array of imported foods and crafts from the City of Lights. And those looking for the opportunity to learn a Russian jig while browsing booths for gift items will likely find an opportunity at the Waldorf School of the Peninsula Annual Holiday Faire in Los Altos.

From the music, specialty foods and children's activities to the imported handicrafts and one-of-a-kind items from local artisans, these pop-up markets provide shoppers more than a place to find unique gifts — they provide a chance to participate in the holiday joys of giving with proceeds from many of them benefitting various local nonprofits.

"People enjoy the festive atmosphere; it puts them in the holiday spirit," said Fanny Retsek, director of the Palo Alto Art Center Studio, which holds a ceramics and jewelry sale during the holiday season. Proceeds from the event benefit the nonprofit's programs. "People can pick up the work, hold it or try it on to see how it looks. (It's) not like buying something online where you don't really know what it will be like when it arrives."

According to the organizers of these European-style fairs, there's a sense of belonging and inclusion that comes from attending the markets.

"In a postmodern society that has always been a melting pot, people seek authenticity," said Father Andrew Smith of Nativity of the Holy Virgin Orthodox Church in Menlo Park, which hosts the annual Russian Christmas Bazaar. "They might not have an idea of what their own authenticity is, and I think it's comforting and nostalgic to find that somewhere else."

Elisabeth Michel, who organizes The French Fair, believes culturally focused fairs serve as an introduction to a particular country's customs and a meeting place for native transplants. The fair, she explained, started 15 years ago as a way for the French community to celebrate and support French products and locally owned French businesses. Over the years, it's grown well beyond the French community, she said

"For American people or non-French people ... there's an attraction to ... seeing something different," Michel said. "We want to make people feel as if they were in France for a day."

Susan O'Sullivan, director of development and external relations at Filoli in Woodside, believes people come to the historic estate's annual European-influenced holiday market for another reason — to find gifts that are difficult to find elsewhere.

"I think online shopping with the big retailers makes it easy to find items that are widely available, but many folks really try to seek out things that are locally made or artisan made and unique."

Here's a list of some of the pop-up markets scheduled to take place along the Midpeninsula this holiday season:

The French Fair — A Day in France

Launched by a small group of French residents living in southern California 15 years ago, The French Fair has found a growing following in Palo Alto, where it has been held over the past six years. According to organizers, the fair has become the largest Bay Area event devoted to French culture, food and fashion. This year's holiday fair includes more than 60 vendors selling handmade items and European imports; two French singers; children's activities; a fashion show; a French car exhibition; and French imported foods — charcuterie, baguette sandwiches, pastries, cheese — from Sunnyvale's Frenchery market, which imports and delivers hard-to-find food items directly from France.

Where: Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto. When: 10 a.m. to 6 p.m., Saturday, Nov. 16. Cost: Free. A portion of the event's proceeds benefit Mentor Tutor Connection, a nonprofit program launched by the Los Altos Rotary Club in 1996 to provide classroom tutors and mentors at Mountain View and Los Altos schools. Info: frenchfair.org

Filoli Artisan Market

Visitors can take a stroll back in time to experience the historic Filoli estate decorated as it would have been when the Bourn and Roth families occupied the space between 1917 and 1975. As part of Holidays at Filoli festivities, in which the house and gardens are adorned to reflect the season, Filoli hosts its annual five-day Filoli Artisan Market with a festive French feel. This year's market will include 20 artisans who will be selling soaps, hand-turned wood bowls, jewelry, ornaments, glass items, fine art, notecards and more. Food gift items also will be available for purchase from vendors, including Bert's Bites and Woodside Bakery. Additionally, Filoli's newly developed hard cider — made with apples from the property's orchard — as well as its honey, vinegars and teas will be available for purchase.

Where: Filoli Visitor Center, 86 Canada Road, Woodside.

When: 11 a.m. - 7 p.m., Saturday - Sunday, Nov. 23-24 & Friday - Sunday, Nov. 29-30, Dec. 1.

Cost: $25 adult, $12 children 5-17 (includes admission to Filoli house and gardens.); $35 adult, $18 children 5-17 for evening market, which includes illuminated grounds and holiday-themed entertainment. Proceeds benefit the historic, nonprofit property.

Info: filoli.org/event/artisan-market

Waldorf School of the Peninsula Annual Holiday Faire

More of a holiday event with items for sale than a vendor-focused bazaar, the Annual Holiday Faire is a community-centered, activity-focused day of fun for students, their families and members of the community. Curated items for sale include wooden puzzles and toys, wreaths, locally made bath and body-care items, shawls, jewelry and handmade items crafted by parents. Activities are ticket-based and include beeswax candle dipping, wreath making, hair braiding and face painting. Pocket fairies roam the grounds, musicians perform traditional Russian jigs. Puppet shows and storytelling areas keep children entertained. There is also a gnome adventure crawlspace for kids and holiday trees are placed throughout the winter wonderland-themed event. Additionally, Ce Patli, a food truck focused on organic, non-GMO Mexican cuisine will be onsite and hot chocolate and horchata are available for purchase.

Where: Waldorf School of the Peninsula, 11311 Mora Drive, Los Altos. Shuttle available from Antiochian Orthodox Church of the Redeemer, 380 Magdalena Ave, Los Altos.

When: 6 - 9 p.m., Friday, Dec. 6 (adults-only boutique); 10 a.m. to 4 p.m., Saturday, Dec. 7, (all ages — boutique and activities).

Cost: Free. Proceeds benefit the school.

Info: waldorfpeninsula.org/event/annual-holiday-faire/

The Art Center Ceramics and Jewelry Sale

Jewelry artist Barbara Carman initiated the idea for the annual Palo Alto Art Center Ceramics and Jewelry Sale four years ago as a way for the studio artists to show and sell their work, as well as to showcase the caliber of artwork being created at the nonprofit center — managed by the City of Palo Alto — which is open to the public for art activities of all ages. The sale provides an opportunity to purchase unique, handmade, high-quality gifts and objects ranging from functional plates, bowls, platters and mugs to sculptures and jewelry made of precious metals and stones designed and fabricated by the 46 professional artist vendors. The Art Center Gallery also is open during the event.

Where: Palo Alto Art Center,1313 Newell Road, Palo Alto.

When: 10 a.m. to 4 p.m., Saturday, Dec. 7

Cost: Free. Proceeds benefit the participating artists, the studios and the Palo Alto Art Center Foundation.

Info: cityofpaloalto.org/gov/depts/csd/artcenter

Annual Christmas Market at Allied Arts Guild

Menlo Park's landmark Allied Arts Guild, which for decades has housed shops and artist studios in its 1920s-era Spanish-style buildings, hosts an annual Christmas Market that includes an eclectic mix of artisans selling everything from spices, Peruvian crafts and handsewn items to wool and knitted goods, jewelry, mosaic art, linen items, leather and wood gifts, natural soaps and lip balms and locally made toffee spaced throughout its 3.5 acres of gardens. Entertainment includes a visit from Santa, carolers and live music throughout the day. Guests are encouraged to make lunch reservations at Cafe Wisteria, (650-838-9002). As part of the festivities, some shops give out small gifts and treats to visitors, others hold drawings.

Where: Allied Arts Guild, 75 Arbor Road, Menlo Park.

When: 10 a.m. to 4 p.m., Saturday, Dec. 7

Cost: Free. Proceeds support the Packard Children's Hospital.

Info: alliedartsguild.org

Russian Christmas Bazaar

For more than 50 years, Nativity of the Holy Virgin Orthodox Church in Menlo Park has brought a little bit of the Russian tradition to the holiday shopping season. This one-day event contains a rummage sale, two local artists selling artwork, church tours and honey from the Holy Assumption Orthodox Monastery in Calistoga. Live Russian music and a Russian puppet show will keep visitors entertained while they dine, a la carte, on traditional Russian cuisine handmade from recipes passed on from generation to generation, including cabbage rolls, piroshki, borscht and a variety of sweet desserts. In addition to the food, one of the biggest draws to the bazaar is its "Lucky Barrel," where for $2, guests can purchase a wrapped children's or adult gift without knowledge of what's under the paper.

Where: Nativity of the Holy Virgin Orthodox Churchm 1220 Crane St., Menlo  Park.

When: 10 a.m. to 4 p.m., Saturday, Dec. 7

Cost: Free. Donations accepted.  Proceeds benefit the parish's religious sisterhood of nuns.

Info: tserkov.org

German Holiday Market

In every village, town and city in Germany, an open-air Christmas market, Weihnachtsmarkt or Christkindlmarkt, is held every holiday season. In 2013, the German International School of Silicon Valley (GISSV) developed the German Holiday Market in downtown Mountain View to bring the German cultural tradition to the Bay Area. In striving for an authentic experience, GISSV places wood facades on booths to create a village atmosphere representing those found in Germany, Austria and Switzerland, and sells German food and sweets, as well as holiday market hallmarks, such as Gluhwein (warm mulled wine) and Kinderpunsch (hot cider). Only vendors offering handcrafted goods or items imported from Germany and other parts of Europe are chosen to participate in the fair. "It's an authentic German Christmas market which you (typically) can't find here in the Bay Area," said vendor Dennis Olarte, who helps his wife, Conny, sell her handmade, natural soaps called Essence of O.

"It's so much fun. You have the Christmas lights, you have the food, you have the drinks, you have the cookies and pretzels they serve in Germany, and you can't find that anywhere."

Where: Mountain View City Hall Plaza, 500 Castro St., Mountain View.

When: 11 a.m. to 9 p.m., Saturday, Dec. 14.

Cost: Free. Proceeds from the event benefit the German International School of Silicon Valley.

Info: gissv.org/gissv-home-english/school-life/events/german-holiday-market   

[goldeagleprice]

Virtual CPAC Meeting on Algerian MOU Request and Honduran and Bulgarian Renewals

By Peter K. Tompa

July 31, 2018

On July 31, 2018, the U.S. Cultural Property Advisory Committee (CPAC) held a “virtual” meeting where all speakers were linked via an internet based video platform.  According to my notes, at least the following CPAC members were in attendance at the State Department:  (1) Karol Wight (Museum); (2) Lothar von Falkenhausen (Archeology); (3) Nancy Wilkie (Archaeology); (4) Rosemary Joyce (Archaeology); (5) Dorit Straus (Trade); (6) Adele Chatfield-Taylor (Public); and (7) Jeremy Sabloff (Public-Chair).   Jim Willis (Trade) attended via videoconferencing. 

Cari Enav, who runs the Cultural Heritage Center, made introductions.  Andrew Cohen, who is the executive director for CPAC, provided the speakers with information about the 4 determinations CPAC was required to make before recommending a MOU or an extension.   Dr. Sabloff indicated speakers should take these requirements into account in their presentations. He then introduced the CPAC members before calling speakers for the Algerian MOU.

Algerian MOU

There were six (6) speakers:  (1) Kate FitzGibbon (Committee for Cultural Policy (CCP) and Global Heritage Alliance (GHA); (2) Peter Tompa (International Association of Professional Numismatists (IAPN)/Professional Numismatist’s Guild (PNG); (3) Gina Bublil-Waldman (Jews Indigenous to the Middle East and Africa (JIMENA); and (4) Carole Basri (Fordham Law School).  No speakers appeared to argue for the MOU.

Kate FitzGibbon- CPAC initially only recommended MOUs on a narrow range of artifacts from a limited number of poor countries.  Today, MOUs close off entire areas from collecting.  Even worse, the State Department has recognized the claims of nation states to property that has been expropriated from fleeing Jews and Christians.  Ms. FitzGibbon acknowledges that recent Libyan import restrictions have been rewritten to remove references to Jewish items, but states that most, if not all, would still be restricted under more general coverage for Ottoman items.  The only way to ensure that artifacts of repressed minorities will not be subject to seizure is with a specific exclusion.  The problem can also be avoided if the State Department adheres to the definition of ethnological objects in the Cultural Property Implementation Act.  Algerian Jewish artifacts are not the products of preindustrial or tribal cultures and should be beyond the scope of coverage under the CPIA. 

Peter Tompa- This is yet another troubling request from an authoritarian North African government which is all the more problematic because Algeria seeks recognition of its rights to objects associated with its displaced Christian and Jewish populations.  This issue potentially impacts unprovenanced coins now in French collections.  (Algeria’s French “Pied Noir” and Jewish populations mainly fled to France after Algeria gained its independence.)  There is a real question whether Algeria’s patrimony is in jeopardy as no information has been provided whether coins are being found with metal detectors.  If they are, they need to be regulated as a less drastic remedy than import restrictions.  The UK Treasure Act and Portable Antiquities Scheme is IAPN/PNG’s preferred model for regulation.  If restrictions are recommended for coins, such restrictions must be limited to those “first discovered within” and hence “subject to export control” of Algeria.  Here, while there is some room for debate as to whether “local currency” issued at Cirta, Icosium (Algiers), Hippo Regius and Iol-Caesaria is exclusively found within the confines of modern day Algeria, coins of the Numidian and Mauritanian kingdoms, and the Carthaginian, Roman, Byzantine and Islamic Empires circulated well beyond the boundaries of modern day Algeria.  One cannot simply assume such coins were actually found in Algeria and hence are subject to Algerian export controls. 

Gina Bubill-Waldman- Ms. Waldman was driven from her home in Libya as a child.  She believes that these MOUs are a cynical tactic created to deny North African and Middle Eastern Jews patrimony and assets which were stolen from Jewish people when they were brutally expelled. The Libyan MOU has set a very dangerous and unjust precedent for countries who erase Jewish heritage by claiming it as their own, when Jews, the people who actually created it, have been hunted and expelled. Because these MOUs were passed without specifically excluding Jewish items, Jewish patrimony can now become the patrimony of the same governments which have destroyed, looted and harassed their now extinct Jewish communities.  CPAC is charged with the important job of protecting patrimony of antiquities. But by passing this type of MOU, CPAC would in fact be endorsing the opposite of what its mission tries to achieve: preservation of historical property by its proper owners. This MOU seeks to make the American government unwittingly collude with the thieves who stole, destroyed and defaced the Jewish-Algerian patrimony in the first place. Not a single one of the Middle Eastern and North African countries from Morocco to Yemen, from Iraq to Egypt has earned the right to call thousands year old Jewish patrimony their own. Not after expelling their Jewish population, confiscating what was rightfully Jewish property, desecrating, looting, destroying synagogues and purposefully building skyscrapers on top the cemetery where Ms. Waldman’s grandparents are buried, like in Tripoli, Libya. 

Carole Basri- Ms. Basri is of Iraqi-Jewish heritage.  She authored a law review article about the harsh treatment of Iraqi Jews.  The property of Jews living in MENA countries was expropriated under color of law.  Such laws are against our own scruples as well as the UN Declaration on Human Rights.  There were originally 1 million Jews in Arab countries.  Jewish artifacts do not fit the definition of ethnological objects under the CPIA and should not be subject to detention and seizure. Jewish people were city dwellers and the cities where they lived were neither pre-Industrial nor tribal in nature.  The U.S. Government should not work with governments that have forcibly removed their Christians and Jews. 

Cari Enav interjects that new Libyan restrictions do not mention Jewish property so such property should be excluded from any import restrictions.  Kate FitzGibbon states that Jewish property is still included in the Libyan MOU because most Jewish property cannot be distinguished with what is otherwise described as Ottoman in the import restrictions.  That is why an explicit exemption is required.  All this could be avoided if the State Department followed the CPIA strictly and did not consider Jewish artifacts to be ethnological in nature. 

Honduran Renewal

There were three (3) speakers:  (1) Rocco Debitetto (Association of Art Museum Directors (AAMD)}; (2) Kate FitzGibbon (CCP and GHA); and (3) Peter Tompa (IAPN and PNG).   No speakers representing the archaeological community appeared.

Rocco  Debitetto- AAMD supports the renewal with reservations.  Honduras needs to be held to account in Article II.  There needs to be long term loans.  The designated list is too broad and needs to be reformed to ensure that only archaeological and ethnological material as defined in the CPIA are covered.

Kate FitzGibbon- CCP and GHA oppose renewal of the MOU.  Honduras has been given blanket restrictions for 15 years.  It has not used this time productively.  Most of the budget for cultural heritage preservation stays in the capital rather than being used to protect sites on a local level.  The US House of Representatives has asked for an accounting of self-help measures as part of its authorization of funds.  Too much archaeologically sensitive land is being illegally used for cattle farms with nothing being done about it.   No more than $600-$700 is spent on sites per year.  There is little or no market for Honduran artifacts in the US. 

Peter Tompa- This MOU renewal raises the same issues for coin collectors as the recent Ecuadorian request.  Honduran historical coins cannot be considered either archaeological or ethnological objects. They were produced in industrial processes not consistent with them being ethnological objects.  Such coins circulated along with other Spanish Colonial coins throughout the Americas and beyond including the United States.  They should not be subject to restrictions. 

Karol Wight asks about AAMD’s recommendations.  Mr. Debitetto indicates a major one is one point of contact for loans.

Jim Willis asks Kate FitzGibbon about illegal exports from Honduras. Ms. FitzGibbon states it is difficult to answer that question because there is a lack of information. 

Bulgarian Renewal

There were three (3) speakers:  (1) Kate FitzGibbon (CCP and GHA); (2) Josh Knerley (AAMD); and (3) Peter Tompa (IAPN and PNG).   No speakers representing the archaeological community appeared.

Kate FitzGibbon- The Bulgarian designated list is all-inclusive and needs to be reformed to comply with the CPIA.  It includes many repetitive items that are not of cultural significance like coins, necklaces and beads.  Bulgaria has sorely neglected its archaeological sites.   Substantial EU funds have been wasted in archaeologically unsound rebuilding projects.  Very few Bulgarian artifacts aside from coins are of interest to collectors.  Coins are mass produced and not of cultural significance under the CPIA.  Bulgaria has not satisfied Article II of the MOU’s requirement that export permits be issued.  There is a lack of rigorous police enforcement. 

Josh Knerly- There is a major problem with the designated list.  The designated list can only restrict items authorized under the MOU.  Here, the MOU only authorizes restrictions on ecclesiastical objects from 681 AD forward, but the designated list restricts ecclesiastical items dating from the 4th Century AD.  This highlights much greater problems in how designated lists are prepared. 

Peter Tompa- Tompa produces a ruler to make a point.  A ruler goes from one inch to 12 inches.  We can all agree that some things like murder would be “12” on a scale.  But what about looting?  Many people would consider it a “1” on a scale, akin to a traffic violation.  That certainly is the case in Bulgaria where there are large numbers of treasure hunters and where the authorities themselves have been involved in looting.  Given this reality, it makes no sense to continue the MOU which only denies American coin collectors access to the same sorts of coins available elsewhere including Bulgaria itself.   If CPAC nonetheless approves a renewal, it should reform the designated list to limit restrictions on coins.  Moreover, CPAC should recognize that EU countries like Bulgaria are bound by EU export controls.  CPAC should recognize legal exports from EU countries of coins on the Bulgarian designated list.

COMMENTARY: If this isn't indicative of a total breakdown in the legislative process, then the process is not assailable.  I find it painful to believe my own conclusion within the Democracy that I have spent the majority of my 75 years defending in the U.S. Military and in various civilian leadership positions.  What the situation has come down to is that opponents of MOUs on incidental items of cultural heritage, those who have read and support the current legisation (CCPIA) protecting those items, have been marginalized by bureaucratic manipulation in support of a vicious and monied advocate for cultural dominance.  Isn't it ironic that a law that defends private ownership and trade is used in an orchestrated attempt to destroy it?  All the good that has come from ancient coin collecting over the past 600 years and more is being slandered and dismissed by this Marxist academic coterie with a self serving agenda.  The fact that no academic members bothered to comment in this Virtual meeting, is simply confirmation that it isn't necessary.  Do they oppose? No, they support.  Why then do they not comment?  Because they know full well what the outcome will be and don't even want to waste the time expounding on their views.  They certainly, do not want to waste any time in a debate since they feel they have already won the day.  Isn't that the very height of arrogance?  It is not too far afield from the arrogance that German citizens experienced in the 1930s.  Ironic also, is the fact that supposed liberal idealogists could be so close in reality to the repressors of the past.  I have repeatedly called in public meeting at the State Department for the rule of law.  That call has been ignored.  When will Congress finally have enough of this and end the disaster in Foggy Bottom? <!-- /* Font Definitions */ @font-face {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin-top:0in; margin-right:0in; margin-bottom:8.0pt; margin-left:0in; line-height:107%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:Calibri; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} p.MsoFooter, li.MsoFooter, div.MsoFooter {mso-style-priority:99; mso-style-link:"Footer Char"; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; tab-stops:center 3.25in right 6.5in; font-size:11.0pt; font-family:Calibri; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} span.FooterChar {mso-style-name:"Footer Char"; mso-style-priority:99; mso-style-unhide:no; mso-style-locked:yes; mso-style-link:Footer;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:11.0pt; mso-ansi-font-size:11.0pt; mso-bidi-font-size:11.0pt; font-family:Calibri; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} .MsoPapDefault {mso-style-type:export-only; margin-bottom:8.0pt; line-height:107%;} @page WordSection1 {size:8.5in 11.0in; margin:1.0in 1.0in 1.0in 1.0in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} -->

[afishtrap]

To make the case for more attention by world historians to music as a universal human phenomenon, this article compares the socioeconomic niches, cultural associations, and technical and technological development of plucked stringed instruments in sixteenth-century Spain and Ming China. An examination of the interrelationship of vihuela, lute, and guitarra, on the one hand, with the guqin and pipa, on the other, reveals similar patterns of gender, class, and ethno-national meaning becoming attached to these instruments. In particular, both vihuela and pipa changed morphologically, and playing style grew more virtuostic in tandem with the instruments' rising popularity among urban classes in Spain and China. Moreover, the vihuela and likely the pipa as well were made from more exotic materials as their respective homelands became more engaged in global trade.

James a. Millward. "Chordophone Culture in Two Early Modern Societies: "A Pipa-Vihuela" Duet." Journal of World History, Vol. 23, No. 2 (June 2012), pp. 237-278.

That we consider the sixteenth century the golden age of the vihuela de mano is largely the result of the rediscovery in the nineteenth century of seven collections of music for this instrument printed at that time in Spain (Table 1). In addition to these seven collections, Juan Bermudo includes a long discussion of the vihuela de mano, its tuning, its temperament, and other issues in his Declaración de instumentos musicales (1555), an important text on Iberian music of the age. Besides two manuscript collections that have been since discovered,6 this repre sents the entire corpus of music for this stringed instrument. Never theless, there is evidence that much more vihuela music circulated in manuscript, and the volumes themselves were written and produced for a market that was already well established. Thus the vihuela and its music had been popular since the previous century, though there are no scores from that period.

The vihuela de mano is often said to have disappeared by the seventeenth century, displaced by the more popular guitarra, which would later evolve into the Spanish guitar. This is a misconception incurred by focusing on names rather than the things they represent. (The relationship of names to musical instruments is particularly prone to seman tic and phonetic shifts as the instruments change over time, move from place to place, and encounter cognate instruments and terms in other societies. The best example of this phenomenon is the Sumerian word pan-tur, "bow-small," which sprouted a vast evolutionary tree of names for bowed instruments, plucked instruments, and drums: pantur, pan dare, mandore, mandola, mandolin, vandola, bandurria, bandore, banjo, tanbur, tunbur, tunbura, tamboura, dombra, tambour, and tamborine.7) I will argue below that it is better to see the instruments and music of the vihuela and guitarra as merging, while it was the latter name that stuck.

[...]

The term vihuela was originally applied to a variety of stringed instruments: the vihuela de peñóla, played with a quill as a plectrum, like the Middle Eastern oud today; the vihuela de arco, played with a bow; and of course the vihuela de mano, played with the hand or, more specifically, plucked with the fingers and thumb. Though it is as a bowed instrument (viola) that the word has come down to us in English, the vihuela de mano was the most common instrument in this family, so that in Spanish the generic reference vihuela with no qualifiers came to refer to the finger-picked instrument exclusively. (In modern Portuguese the violäo is still a "Spanish guitar," while viola is a viola and guitarra refers either to an electric guitar or the guitarra Portugueasa, a metal-stringed instrument probably derived from the English guitar or cittern of the eighteenth and nineteenth centuries, used especially for fado music.)

[...]

The sixteenth-century vihuela that flourished in Spain (and in Spanish colonies) had gut strings usually arranged in six or seven paired courses (double strings, the pairs tuned in unison or to an octave). Luis Milán suggested that the best way to tune a vihuela was to tune the highest string as high as it would go without breaking, and then tune the other strings in reference to the first.8 In its most common tuning scheme, this resulted in intervals (from lower to higher) of 4th-4th-3rd-4th-4th (e.g., G-C-F-a-d-g). This was the same relative tuning as the lute of its day, and close to that of the modern guitar.9 Vihuelas came in a variety of shapes—sometimes oval, like the lute, but increasingly they were waisted, with either a sharp corner (as in the bowed viol family today) or more gentle curve in the middle of the body. Though produced in various sizes to accommodate playing in different keys, even the largest of the vihuelas was smaller than the guitars of today. As a result of its size and construction, the vihuela had a higher, brighter sound than do modern guitars.

Its number of strings, tuning system, and frets suited the vihuela for playing relatively complex polyphonic music (music with multiple voices, or lines), just like the lute. In other ways, however, vihuelas were quite different from lutes. Unlike the lute's rounded back, which is made from a series of arched staves glued together, the vihuela was constructed like a box, with a hardwood back (often composed of two matched pieces), curved sides (usually of the same wood), and a top or sounding board of spruce, cedar, or other soft wood. Vihuela sound boards were braced underneath to support the tension of the strings and pierced with one to five round sound holes decorated by carved roses (see Fig. 1). This construction of a chordophone body out of separate, thin pieces seems to have been a fifteenth-century innovation, applied to both vihuelas and guitarras. It was somewhat easier to build than the bowl-shaped lute, whose many staves had to be carved, curved, and precisely matched, and it was lighter than the gittern, cit tern, and other small stringed instruments, which were carved out of a single piece of wood.10

The flat back may have made the vihuela easier to hold, especially for ambulatory players, though most vihuelas were too small for the curved waist to rest on the top of a sitting player's thigh, as it does with the modern guitar; rather, vihuelas were held high, against the chest, and the player had to use his arms and hands to stabilize the instrument even while fingering the strings (Fig. 1). The most significant result of this new way of making chordophones, however, was that the thinness of the sides and back allowed the use of imported tropical tonewoods whose cost would have been prohibitive if an instrument had to be carved from a solid block. European lutiers already employed a wide variety of exotic materials for internal ribs and other parts of the instrument, including for example "whalebone, Indian cane, Brazil wood, guaiac, sandalwood, ebony, yew, cypress, ivory and white, yellow and red maple."11

Professional sixteenth-century violeros as well as lutiers elsewhere in Europe were also taking advantage of the variety of new materials brought by maritime commerce to Italy and Spain.12 The ordinances of the violeros guild in Toledo in 1617 specified that fingerboards were to be made of ebony. From trees of the genus Diospyros and native to Africa and South Asia, ebony is dense enough to sink in water and was thus a favorite choice for fingerboards, which must endure much wear and tear. Ebony was also employed on the sides, ribs, or backs of instruments for its structural and acoustic properties. One contemporary source (1550) mentions a vihuela with rib braces (costillas) of fine ebony from the Island of Meroe, between the White and Blue Nile in Sudan.13

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[nyfacurrent]

NYFA Source | Hurricane Maria Resources Round-Up

Artists impacted by Hurricane Maria: find the support you need.

Para leer este articulo en Español presione aquí.

In the wake of large-scale devastation caused by Hurricane Maria in Puerto Rico, the U.S. Virgin Islands, and Dominica, artists, cultural workers, and their communities have shown remarkable resilience. Spanish artist and Puerto Rico resident Noelia Medina Fernández pointed to “the amazing efforts the community develops to move forward” in a recent Hyperallergic piece on the response from the arts community in Puerto Rico.

Below are a range of resources for artists working towards short-term and long-term recovery. Find resources related to Hurricane Irma recovery here and resources related to Hurricane Harvey here.

Tools for Searching

Additional information on Current Disaster Resources, Emergency Grants, and more can be found on NYFA Source, an online arts database with over 12,000 resources and opportunities for artists in all disciplines. Individuals can also call the NYFA Source Hotline at (800) 232-2789, from Monday - Friday, 3:00 - 5:00 PM EST, or email source@nyfa.org. Please note that assistance over the phone will be in English, but emails in Spanish can be accommodated if needed. For questions specifically about the emergency grants and opportunities in the "Arts and Culture Specific Resources" section below, please contact those organizations directly.

Translation Assistance

While some of the programs below currently offer application materials in Spanish, others do not. Artists who would like to receive assistance with translations can contact the Ladon Language Team. Responders and volunteers can call the Ladon Language Hotline at 844-561-4888 to connect to a language assistant who can help translate over the phone. Users can also text the hotline to request translation of any short text. To request document translation, users can email the document to Ladon.Team@gmail.com.

Federal Assistance

Interruption of income can be one of the most distressing effects of a disaster, especially for those who make their living on a freelance basis and through creative work. Disaster Unemployment Assistance is available from the U.S. Department of Labor and its affiliates. Find information regarding Hurricane Maria Disaster Unemployment Assistance here; Puerto Rican residents impacted by Hurricane Maria can apply through el Departamento del Trabajo y Recursos Humanos before January 11, 2018, and can call (787) 625-7900 for help. The deadline for Disaster Unemployment Assistance in the U.S. Virgin Islands has been extended to December 29, 2017. Call (340) 773-1994 or (340) 776-3700 for help.

Individuals and businesses can also apply for low-interest disaster loans from the U.S. Small Business Administration (SBA). Applicants can apply online or visit a disaster recovery center in their area. Call (800) 659‐2955 with questions.

Puerto Rico residents, find resources and information from FEMA in English and in Spanish. Residents of the U.S. Virgin Islands, information is available in Spanish, in Haitian Creole, and in English. Individuals in the U.S. Virgin Islands have until January 8, 2018, and individuals in Puerto Rico have until June 18, 2018, to apply for individual assistance. 

You can also apply for Other Needs Assistance (ONA) from the FEMA Individuals and Households Program (IHP). This program provides money, up to the program maximum, for necessary expenses and serious needs, that are not housing related, and which can’t be met through other means. Other needs assistance under IHP includes: 

Personal property

Childcare

Medical and dental expenses

Funeral and burial costs

Transportation

Housing assistance is also available from the FEMA Individuals and Households Program (IHP).

DisasterAssistance.gov consolidates the application process across several agencies like FEMA and SBA. The site is also available in Spanish. If you’re feeling overwhelmed by navigating federal assistance, you’re not alone. These Tips for Working with FEMA + SBA from CERF+ may help. Artists seeking free legal aid with issues like housing and FEMA applications can also contact Ayuda Legal Huracán María, or the Louisiana Civil Justice Center hotline, which can be reached at (800) 310-7029 from 9:00 AM - 4:00 PM CST, Monday through Friday. Assistance in Spanish is available.

Get Involved

Americans for the Arts has created and will continue to update a Hurricane Maria Relief page, which lists ways to help and ways for impacted artists to get help. There are a range of arts and culture organizations working with the affected communities that you can support, like Beta-Local, Museo de Arte Contemporáneo de Puerto Rico’s Artist Emergency Fund, Caribbean Cultural Center African Diaspora Institute’s Caribbean Hurricane Relief Fund, and Pregones/Puerto Rican Traveling Theater (PRTT)’s Relief Drive for Artists. Learn more about the peer-to-peer fundraising efforts of Pregones//PRTT in our interview with Arnaldo J. López, the organization’s Development Officer and a native of Puerto Rico.

Arts and Culture Specific Resources

See below for a variety of emergency grants and other services for artists of all disciplines. *Updated December 30, 2017

Actors Fund of America Emergency Assistance: For all performing artists and those working in entertainment. Eligible individuals can apply online for assistance in English or in Spanish, and can also contact the New York City office, at (212) 221-7300, ext. 119 or intakeny@actorsfund.org.

Alliance of Artists Communities Emergency Funds for Individual Artists: The fund disburses mini-grants of up to $1,000 to artists who have already been accepted and scheduled for a residency, but who would not otherwise be able to participate due to a sudden change in circumstances. The Alliance also serves artists affected by natural disasters by mobilizing its network of residency programs to offer residencies to eligible artists.

Artists’ Charitable Fund: Artists who need financial assistance because of medical, fire, or other disaster should email Fund Coordinator Judy Archibald at cnynsprt@aol.com or call her at (970) 577-0509.

Artists’ Fellowship, Inc. Financial Assistance: Provides emergency aid to professional fine artists and their families in times of sickness, natural disaster, bereavement, or unexpected extreme hardship.

Assets for Artists / Studios at MASS MoCA Emergency Residency for Artists from Puerto Rico: The Studios at MASS MoCA invites artists in Puerto Rico who have been affected by Hurricane Maria, including artists displaced from the island by the hurricane, to apply for residencies up to 6 weeks. The normal residency fee will be waived, and additional support will be provided for travel and meals. Apply via submittable before December 18, 2017, 11:59 PM.

Authors League Fund: Provides assistance to professional writers and dramatists who find themselves in financial need because of medical or health-related problems, temporary loss of income, or other misfortune.

Beta-Local El Serrucho Fondo De Emergencia Para Trabajadores Culturales / Emergency Fund for Cultural Workers: Beta-Local, an organization based in San Juan, Puerto Rico is accepting applications through an open, ongoing call from cultural workers in all disciplines.

Book Industry Charitable Foundation Financial Assistance Program: Assists with specific unforeseen emergency financial needs of a bookstore employee and their immediate family members living in the same household.

Carnegie Fund for Authors: Awards grants to published authors who are in need of emergency financial assistance.

CERF+ Emergency Financial Relief: Provides financial assistance for eligible artists who work in craft disciplines, and tips for safety and studio protection for artists of all disciplines. Application guidelines are now available in Spanish.

Dramatists Guild Fund (DGF) Hurricane Relief: DGF provides financial assistance to individual playwrights, composers, lyricists, and bookwriters in need, and is offering a special expedited process to those writers affected by Hurricanes Harvey, Irma, and Maria. In conjunction with the online application form, email hurricanerelief@dgf.org to submit as many of the following documents as you are able. For questions, contact DGF at 212-391-8384 or hurricanerelief@dgf.org.

Proof of address: a utility bill with your name and address

A recent itemized bank statement

A resume or bio including your experience as a writer for the stage

Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC): The free Emergency Response and Salvage Wheel Mobile App is designed for anyone in need of practical advice for saving collections or items in the first 48 hours after a disaster. Additionally, the National Heritage Responders Hotline can be reached 24/7 at (202) 661-8068 for conservation advice and referrals.

Hero Initiative Grants: Provides assistance for eligible comic book writers, pencilers, inkers, colorists, or letterers on a work-for-hire basis.

Jazz Foundation of America Jazz Musicians Housing and Emergency Assistance Program: Provides a wide range of social services for jazz musicians.

Joan Mitchell Foundation Emergency Grant: Emergency support to artists working in the mediums of painting, sculpture, and/or drawing after natural or manmade disasters.

Motion Picture and Television Fund: Provides temporary emergency financial assistance to qualified industry members experiencing financial hardship due to illness, disability, unemployment, or other reasons.

MusiCares® Emergency Financial Assistance: Musicians and music professionals in Puerto Rico can request disaster relief by contacting the East Regional MusiCares® office in New York City at (212) 245-7840 or toll-free at (877) 303-6962.

Musicians Foundation Support: Gives grants for medical and allied living expenses in emergencies. All professional musicians, regardless of their genre or instrument, are eligible to apply. 

PEN Writers’ Emergency Fund: Provides emergency funding for professional—published or produced—writers in acute, emergency financial crisis.

Pioneers Assistance Fund (PAF): Serves members of the motion picture entertainment industry (exhibition, distribution, and trade services) who are encountering an illness, injury, or life-changing event. All assistance is intended to provide support during a recovery or adjustment period and lay the foundation for a lifetime of ongoing success.

Rhythm & Blues Foundation Financial Assistance: Provides financial and medical assistance to Rhythm & Blues artists of the 1940s through the 1970s, as well as a support system to help identify other sources of assistance.

The Adolph & Esther Gottlieb Foundation Emergency Grant: Provides interim financial assistance to qualified artists whose needs are the result of an unforeseen, catastrophic incident, and who lack the resources to meet that situation.

The Haven Foundation: Gives financial assistance to provide temporary support needed to safeguard and sustain the careers of established freelance artists, writers, and other members of the arts and art production communities who have suffered disabilities or experienced a career-threatening illness, accident, natural disaster, or personal catastrophe.

The Institute of Puerto Rican Culture / Instituto de Cultura Puertorriqueña Emergency Sponsorship: Support is available for non-profit entities and individual artists. Find necessary documents here. Applicants have until Tuesday, December 26, 2017, to deliver applications personally between the 9:00 AM - 12:00 PM, or to submit via email to apoyo@icp.pr.gov. For questions, contact apoyo@icp.pr.gov.

Wesleyan University Center for the Arts Residency: Artists from areas affected by Hurricanes Harvey, Irma, and Maria are invited to apply for a short-term residency in April 2018. Artists may work in any performing arts or visual arts discipline or in a practice that crosses disciplines. Artists are invited to create a work that responds to hurricanes and their environmental and social impact. The project budget includes a $10,000 artist fee and up to $5,000 for travel and materials.

To find more resources and opportunities, use NYFA Source, a free searchable database of 12,000+ awards, residencies, and services.

- Mirielle Clifford, Program Officer, Online Resources, translated into Spanish by Alicia Ehni, Program Associate, NYFA Learning

Image: Diógenes Ballester (Fellow in Printmaking/Drawing/Artists Books ‘91), La Espera