Survey: Bilingual Foundation of the Arts

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$500,001 - $750,000
1b. Primary activity[ies] of the organization.: 
Presenting Organization
Part 2.
2a. Mission Statement: 
BFA was founded in 1973 and is one of the only full-time professional bilingual theaters on the West Coast. The mission of BFA is to serve communities by presenting classic Spanish-language drama and contemporary plays to English and Spanish speaking audiences, thereby bringing awareness of the Hispanic/Latino culture through theater. BFA also provides educational resources and training opportunities.
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
BFA was founded by three stellar personalities in the world of theater: Mexican-American actress Carmen Zapata, Cuban-born actress, playwright, and director Margarita Galban, and Argentinean-born, award-winning set designer Estela Scarlata. BFA has acquired a reputation for producing and presenting the highest quality Hispanic theater to the people of Los Angeles and California. BFA’’s Spanish-language productions instill cultural pride to Spanish-speaking audiences, and serve as an introduction to the rich and eloquent history of the diverse Hispanic culture to Engligh-speaking audiences. The organization has grown from a small, itinerant theater, to a permanent cultural institution in Los Angeles. BFA has a solid 33-year track record of sound fiscal management, strong leadership, and an expertise in filling a market that has traditionally had little or no access to the presentation of classic and modern Hispanic theater works. For BFA, theater arts is the primary tool for building bridges between the Hispanic and non-Hispanic communities. In 1980 the theater moved into its permanent home in the former Los Angeles City Jail in the Lincoln Heights area of East L.A.
2c. Exhibition / Programming / Publishing History.: 
BFA produces four mainstage plays or musicals each year, presented at its 99-seat theater. Occasionally, productions are held at the Los Angeles Theatre Center, the Ford Amphitheatre or the Ricardo Montalban Theatre in order to develop the theater’s audience to collaborate with other companies, and to share marketing strategies. Productions are presented in English and Spanish alternating each week during the run. BFA’s education programs are designed for K-12 public school students. The two components of the program are Teatro Para Los Niños (Theater for Children) and Teatro Para Los Jóvenes (Theatre for Youth), and are tailored in-school play presentations for elementary, middle and high schools. Elementary school plays provide an introduction to theater, while middle and high school presentations are about relevant social issues (teen pregnancy, gang violence, drug addiction). Providing arts education to audiences of all ages is of primary importance to BFA. The discovery of theater can provide an alternative to violence in the streets and negative influences in tough neighborhoods, particularly with young people. BFA’s productions and programs build theater and arts audiences, and foster ethnic pride and personal self-esteem. Prior to BFA’s founding in 1973, there was no bilingual theater in Los Angeles. Latinos were not actively sought as part of the audience for mainstream theater. The resulting exclusion, coupled with dissenting images of Latinos projected in the media, created a need for positive identity in the community.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Luisa Cariaga
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Estela Scarlata
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Rossina Gallegos
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
John Echeveste
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Part 4.
4a. Is organization currently active?: 
4b. Year activity suspended if no longer active.: 
Organization Still Active
Part 5.
5a. Type of organization at its founding.: 
Non-Profit [IRS certified]
5b. Type of organization currently, or at the termination of activities.: 
Non-Profit [IRS certified]
Part 6.
6a. Does the organization have an archive?: 
6b. Are there any short or long-term threats to the organization?: 
Fiscal endangerment of organization
6c. Other threats to the organization:: 
No other threats.
Part 7.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
7b. Has planning for the preservation and documentation of archive begun?: 
Our archive is already in place
7c. Does the organization know how and where to seek expertise and assistance?: 
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Drain on Existing Staff Time
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
Where are these locations?: 
Homes of founders
Part 9.
9. Does the organization maintain archives for any other organization.: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Part 10d.
10d. Would you allow access in the future?: 
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
Promotion or public relations for organization, or other important historical/artistic project.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Board Minutes
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
Other Paper Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Oral History, Recordings and / or Transcripts
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Artwork. Please describe below.
Sets, costumes, props, posters
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials - Please describe below.
Brochures, pens, pencils, calendars
11d. Printed Publications: 
Commercially Published Materials
Checklists / Performance Programs / Price Lists
Programs of Events
Publication or Merchandise Catalogues
Other Printed Publications
11e. Other: 
Layouts / Sketches / Instructions for Performances
Mock-Ups / Models / Prototypes
Props for Performances
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Banker Boxes
Other Boxes
File Cabinets
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
61 - 70
14b. Estimated Number of Archive Drawers: 
41 - 50
14c. Estimated Number of Archive Notebooks: 
41 - 50
14d. Estimated the total Linear Feet. ["Linear Feet" is standard measure of the quantity of archival materials on the basis of shelf space occupied or the length of drawers in vertical files or the thickness of horizontally filed materials. For example, a: 
I don’t know
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
Part 16 / Electronic Files & Archival Management
16f. Does the organization have a back-up program, or back-up schedule, for its electronic records and perform monitoring of its removable media (i.e. floppies, ZIP disks, CD-ROMs, DVDs, portable hard drives, etc.)?: 
16g. Who is responsible for working with the archival material?: 
General Staff
Part 17.
17. How are new materials processed?: 
Manual System (Card File, File Folders)
Electronic (Database, etc.)
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
Fireproof Cabinet
None or Limited
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
No or minimal climate controls [i.e. in an attic, basement, unheated / uncooled storage area, etc.]
Part 20.
20a. What are the goals for the historical materials for the next year?: 
Continue archiving
20b. What are the biggest challenges to reaching these short-term goals?: 
Limited staff time
20c. What goals are in place for the historical materials for the next three to five years?: 
Hire or consult with archivist
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$4,000 - $5,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$7,001 - $10,000
Part 23.
23d. Other - Please describe below.: 
Costs of digitizing
Part 24.
24. What archival issues could / should visual arts organizations address collectively in the next three to five years? Ranked from 1 (highest priority) to 5 (lowest priority).24a. Shared standards / protocols for digitization: 
Promote professional standards / protocols for digitization
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
Bilingual Foundation of the Arts
Who executed this survey.: 
Luisa Cariaga, Executive Director, Bilingual Foundation of the Arts
Is this survey complete and all appropriate questions answered?: