Survey: MACLA/Movimiento de Arte y Cultura Latino Americana

Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1b. Primary activity[ies] of the organization.: 
MACLA has a designated gallery space and multi-use black box theater
1c. Organization's annual budget.: 
$500,001 - $750,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Part 2.
2a. Mission Statement: 
MACLA is an energizing contemporary arts space where Latino artists create and showcase new work in the visual, literary and performance arts to help define, interpret and transform society.
Website Link to Mission Statement:
2b. Organization History / Organizational Overview. Index of important events in organization's history.: 
MACLA was founded in 1989 with the dual purpose of establishing a Latino cultural center in downtown San Jose and advocating for broader participation by multicultural arts in the city of San Jose’s urban renewal efforts. Incorporated by Eva M. Terrazas, Maribel Alvarez and Rick Sajor, MACLA was a result of a broad community-mobilization in the city of San Jose and throughout the country on behalf of multicultural arts. MACLA has retained since its inception an alternative vision of arts-programming as a vehicle for civic dialogue. Rather than perpetuate a static view of culture and ethnicity, MACLA’s programs seek to challenge preconcieved notions and contribute to deeper thinking and social representation for the city’s largest ethnic group.
2c. Exhibition / Programming / Publishing History.: 
MACLA produces approximately 50 programs a year in four distinct programming tracts: visual arts; performance & literary arts; youth arts education; and community development through the arts. Our programs include a remarkable record of accomplishment in the visual arts, presenting 6 exhibitions annually enhanced by artists’ talks, adjunct public programs and high-quality publications. Our exhibitions cover a wide spectrum – from local to international artists and from emerging artists to established artists who are creating new work. Each visual arts season is planned to meet several objectives. Our literary and performance program is comprised of poetry/spoken word, film, artist residencies and performances to provide a strong foundation in the humanities that allows us to engender a culture of critical thinking. Our monthly film series, See Us/Los Vemos provides a venue for independent filmmakers to present their work and allows for audience feedback. To nuture expression and literary development of youth, we’ve created the South Bay Teen Slam League – who competed this year in the regional Grand Slam Tournament organized by Youth Speaks in San Francisco. The Delivery Room is our montly open mic and featured poet event, a perfect space for those looking to hone their craft. MACLA’s Photo Lab is a sequential, intensive photography program that provides artistic and educational development skills for low-income youth. While most Latino arts organizations concentrating on preserving and disseminating traditional art forms, MACLA’s programs focus on the creation and presentation of contemporary work. Our exhibitions have covered a wide spectrum – from the ethnographic-based Ties That Bind, which explored the relationship between Asian and Latino intermarriage in Silicon Valley to the commission of Securitree – a site specific installation by the hip Tijuana-based artist collective Torolab to the poetic work of Argentinian born, Bay Area-based Claudia Bernardi and the highly collectible photographs of Luis Gonzalez-Palma. Highlights in the literary arts include our Latino Authors Series which has featured notable writers such as Ana Castillo, Sandra Cisneros, Carlos Fuentes and Cherri Moraga. In the performance arena we’ve featured artists such as Guillermo Gomez-Peña and Maria Elena Fernandez to experimental theatrical performances by San Antonio’s madmedia.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Maribel Alvarez
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Tamara Alvarado
Additional Names and email addresses of Founders, Board Members, Directors or other key individuals: 
Anjee Helstrup-Alvarez
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?: 
None / Not Applicable
6c. Other threats to the organization:: 
Are there other threats to your organization? Please describe below.
Part 7.
all of the above concerns
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
1. Very Important
7b. Has planning for the preservation and documentation of archive begun?: 
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?: 
Other Concerns - Please describe below.
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?: 
Where are these locations? [I.E. Home / Office of Private Individual(s) (i.e. Former Board, Staff, Funders, etc)]
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 10b.
10b. Are there conditions of access for scholars, curators or researchers?: 
Part 10c.
10c. How are arrangements made for access to archive?: 
Our conditions are very informal. Someone will call us requesting information about a past program. We will pull relevant material for them and invite them to MACLA to review it. If someone is out of the area, in the case of collateral material we will mail exhibition announcements/catalogs, etc. to them.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Board Minutes
Exhibition or Production Files
Financial Records
Legal Documents
By-laws / Incorporation Documents
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
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Broadsides / Small Press
Checklists / Performance Programs / Price Lists
Programs of Events
Publication or Merchandise Catalogues
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Banker 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: 
71 - 80
14b. Estimated Number of Archive Drawers: 
1 - 10
14c. Estimated Number of Archive Notebooks: 
91 - 100
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: 
151 - 200
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?: 
16b. Paper-based:: 
Not Applicable
16c. Electronic Based:: 
Not Applicable
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?: 
Other - Please describe below.
We archive materials by program binders and in boxes by FY with the program’s title labeled on the outside
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
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 to archive all program & organizational materials
20b. What are the biggest challenges to reaching these short-term goals?: 
20c. What goals are in place for the historical materials for the next three to five years?: 
take an inventory of all materials
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
make artistic documents accessible online
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.: 
$20,001 - $25,000
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?: 
Who executed this survey.: 
Anjee Helstrup-Alvarez, Associate Director & Curator
Is this survey complete and all appropriate questions answered?: