From: Berkeley FILM Foundation berke eyfi mfdn@gma .com Subject: A Year n Rev ew at the Berke ey FILM Foundat on Date: January 9, 2023 at 10:51 AM
To: Isabe a sabe a@berke eyfi mfoundat on.org
That’s a wrap! The Berkeley FILM Foundation has so much to be thankful for as we close out the year and begin anew. The return to festivals and theaters in 2022 has been so important for this film community and we have watched so many of our awarded films making an impact at festivals and community screenings across the country and the world. Join us in looking back to our successes this past year...
We are most proud to have completed yet another successful grant season funding an exciting slate of films in development. This year, BFF was delighted to distribute $207,000 to 20 projects, including three student grants to those in film programs at local colleges.
These incredible projects speak to some of the most complex and urgent issues of our time, and they employ creative techniques to tell these stories.
From a film documenting the eviction of a trailer park community in West Berkeley (Like Heaven Without God) to another about the explosive activism of native Hawaiians trying to preserve a sacred site (Standing Above the Clouds), these films are raising awareness about crucial stories missing the headlines.
We look forward to bringing the finished projects to the New Parkway Theater someday soon! Please take a moment to read through our winners and click links to learn more.
General Grant Awards
Sally
Director Deborah Craig. Website.
*Saul Zaentz Award Winner
What We Carry
Director & DP Cady Voge. Website.
*Al Bendich Award Winner
The Long Rescue
Director Jennifer Huang. Website.
*Jonathan Logan Family
Foundation Elevate Award Winner
T B
Student Grant Awards
Washed Ashore
Director and producer Cameron
Nielsen (UC Berkeley Graduate
School of Journalism).
Raspberry Jam
Writer and director Sepideh
Khosrowjah (San Francisco State
University).
The Safest Place
Co-director, co-producer In Jeong
Kim and co-director, co-producer
To Be
Director Tony Nguyen
Get Your 10s
Director and producer Rashaad
Newsome. Website.
Like Heaven Without God
Director Luca Capponi. Website.
Between the Sun and the
Sidewalk
Writer, director and producer
Helen de Michiel. Website.
Black Mothers
Director and producer Débora
Souza Silva. Website.
Stripped for Parts: American
Journalism at the Crossroads
Director, producer Rick
Goldsmith. Website.
Sansón and Me
Director Rodrigo Reyes
The Lost
Director, writer, producer and editor
Vincent Cortez. Website.
The Movement and the Madman
Producer and editor Stephanie
Mechura. Website.
Jack Has a Plan
Director Bradley Berman. Website.
Standing Abov th Clouds
Michaela Vatcheva (UC Berkeley
Graduate School of Journalism).
Standing Above the Clouds
Director Jalena Keane-Lee.
Website.
Driver
Producer Ines Hofmann Kanna.
Website.
Water for Life
Producer Rick Tejada-Flores.
Website.
As always, we wish to thank the City of Berkeley, Wareham Development, the Saul Zaentz Company, the Jonathan Logan Family Foundation, the Nancy P. and Richard K. Robbins Family Foundation, Bayer, the Fleishhacker Foundation, the Robertson Family Foundation, the City of Emeryville, Cal Humanities, and all our generous supporters who have been there for us for years. None of this would be possible without you!
Team behind 'American Justice on Trial'. From left to right, Director Andrew Abrahams, Liam O’Donaghue, Civil Rights attorney John Burris, Prof. Emeritus of Ethnic Studies at Merritt College Melvin Newton and Judge Lise Perlman.
We continued our screenings at The New Parkway Theater as part of their "Doc Tuesdays" program. We screened three BFF grant award-winning projects, On the Divide, A Place to Breathe and American Justice on Trial: People vs.
Newton throughout this past summer and fall. We are delighted that American Justice on Trial has been included on the shortlist for the Short Documentary category of the 2023 Academy Awards.
We thank The New Parkway Theater and its staff from the bottom of our hearts for being such welcoming and terrific hosts. We always get the best feedback from attendees about this space for its personality and sustainable practices.
Attending a screening means you are directly supporting local arts. The Berkeley FILM Foundation does not profit from these screenings and the ticket sales are split between the theater and the filmmakers. So, your support goes a long way! Screenings will resume throughout the year in 2023 - we hope to see you!
BFF board president Abby Ginzberg and
Honoree Jim LeBrecht.
Filmmakers Mo Morris and Maureen Gosling.
After three years of a forced hiatus, BFF was thrilled to finally gather again with fellow filmmakers for a truly special event at The David Brower Center in November. Oscar©-nominated filmmaker and disability rights activist Jim LeBrecht was the recipient of our Award for Justice and Inclusion Film for his tireless work advocating for people with disabilities in the film industry and beyond. The film he co-directed with Nicole Newnham, Crip Camp: A Disability Revolution, told vital stories that expanded the narrative of an often overlooked piece of American history.
Thanks to an incredibly generous match from Wareham Development, BFF raised over $50,000 for our next grant cycle! Many thanks to everyone who attended and those who helped make this event such a great success.
If you would like to view the full gallery of photos taken at the event, you may see them on our website here.
It was our pleasure to work with Cinema SF, the organization that runs and operates the newly renovated 4-Star Theatre in San Francisco to provide them with two 35mm projectors allowing them to show movies on film. The theatre just re-opened last month in the Richmond District of San Francisco, so make sure you support local film venues and go see some classic films! The Berkeley FILM Foundation continues to work towards
a generous $1 million challenge grant. This means that any amount you give will be matched 100% dollar for
dollar! This extraordinary gift will allow us to substantially increase our funding pool, build on our existing programming, and sustain our ongoing operations.
We ask that you make a contribution this month so we can not only advance the careers of outstanding talent but also attract and cultivate the next generation of storytellers.
DONATE NOW
We hope you and your families continue to stay safe and well during the holiday season, and we look forward to seeing you in 2023! Abby Ginzberg
President
Isabella Miller
Program Director
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Copyright © 2023 Berkeley Film Foundation, All rights reserved.
THE LONG RESCUE
2022 Jonathan Logan Family Foundation Elevate Award
Grant: $25,000
Stage: Production
Director/Producer: Jennifer Huang
Location: Oakland
THE LONG RESCUE follows Filipina teen sex trafficking survivors for six years for a film that focuses on recovery rather than trauma, survivors rather than rescuers, and elucidates the perpetuation of poverty, violence, and shame. Each girl’s story is told through four acts and we learn of their dark pasts through brief flashbacks where we come to understand the cyclical nature of exploitation that haunts women and their children for generations.
These girls reveal the lifelong nature of recovery, centering the messy, lived experiences of survivors. Can they overcome intergenerational violence and learn to truly thrive? THE LONG RESCUE is currently in production and the project has been accepted into the 2022 Doc NYC Storytelling Incubator, an initiative that connects emerging filmmakers with underrepresented perspectives to established industry figures who provide hands-on creative consultation and professional guidance.
FILM SPOTLIGHTS
FANTASTIC NEGRITO:
HAVE YOU LOST YOUR MIND YET?
2020 Award
Grant: $12,000
Director: Francisco Núñez Capriles and Yvan Iturriaga
Location: Berkeley
Xavier Dphrepaulezz is a 51-year-old survivor living his “third rebirth” as Fantastic Negrito, a two-time Grammy winning blues artist making an album about the mental health crisis devastating his family and community in Oakland, CA. HAVE YOU LOST YOUR MIND YET? follows his creative process, unraveling his personal journey and that of his loved ones as he searches for truth, reconciliation, and ultimately, healing.
FANTASTIC NEGRITO: HAVE YOU LOST YOUR MIND YET? is in distribution and premiered at the 2022 Mill Valley Film Festival to a sold-out audience at BAMPFA. It is now submitting to top-tier film festivals around the world.
16 FILM SPOTLIGHTS
3 Walls on either side of Ohlone Way could be used for video:
Potential power
sources on
pedestrian stairs for
amplified music and
video projection:
5 "The Mouth of the
Temescal Creek
Watershed” is an artist led,
temporary, multifaceted,
socially engaged, site
specific work using
amplified live chorus, video
projection, and text
inscribed in melting ice to
help us articulate
partnership with our local
waters.
Situated at the western foot
of the South Bayfront
bridge (located at the
Southeast corner of the
intersection of Bay Street
and Ohlone Way, the
homeland and sacred site
of the Lisjan people, with
views of freeways rimming
the Pacific waters), the
artists will respond to
distant melting glaciers with
their own melting tear shaped ice, and to threatening sea rise with a chorus of rising song. They will collect crowd sourced thoughts on our current relationships to climate peril and translate these into abstracted video projections of water currents and charts navigating a course forward.
Based on the Jewish tradition of Tashlich, when folks collectively cast their sins into a moving body of water as a way to lighten their souls, the project asks Temescal Creek to help us shed remorse for our part in climate change, the stress we have carried from recent droughts and storms, and our dread of continuing climate peril. We believe that positive action is only possible with the recognition and expression of grief shared in community.
In this way, the event provides an opportunity for us to gather together and partner with the water to seek collective healing and positive change. 6 Bios
Composer Richard Jennings, and visual artists Lynne-Rachel Altman and Peter EV Allen are Temescal watershed residents. Neighbors, they live in close proximity to Harwood Creek, which feeds into Temescal on its way to the bay.
C A L I F O R N I A
Community Grant Application
Attachment A
Insurance Affidavit
If awarded a Visual Arts Grant from the City of Emeryville I understand all installation work shall require insurance $1,000,000.00 per occurrence and $2,000,000.00 aggregate for bodily injury, personal injury and property damage, including without limitation, blanket contractual liability and as a Contractor shall, at its expense, procure and maintain for the duration of the Contract insurance against claims for injuries to persons or damages to property which may arise from or in connection with the performance of the Work or Services required by the Contract including Contractor, its agents, representatives, employees or subcontractors. Contractor shall also require all of its subcontractors to procure and maintain the same insurance for the duration of the Contract. The insurance coverage shall be primary insurance as respects the City, its officials, employees, agents and authorized volunteers, or if excess, shall stand in an unbroken chain of coverage excess of Contractor’s scheduled underlying coverage.
Any insurance or self-insurance maintained by the City, its officials, employees, agents and authorized volunteers shall be excess of Contractor’s insurance and shall not be called upon to contribute with it in any way.
Costs for the policy are the sole responsibility of the applicant though policies are an eligible cost of awards.
Signature Print Name Date
Lynne-Rachel Altman 2/23/23
C A L I F O R N I A
Community Grant Application
Attachment B
Property Owner Project
Support
O Private Property O School Property O City Property O Uncertain / need guidance Address of Installation or Description of Public Space or Infrastructure Proposed scope of installation (which wall or location on property (e.g. North wall or walkway entry) Owner
Signature Print Name Date
West foot of the South Bayfront bridge and Temescal Creek at Ohlone Way and BayStreet Amplified chorus, video projection on Bay Street building, ice hung on fence around Temescal Creek
C A L I F O R N I A
Community Grant Application
Attachment C
Neighboring Address
Notification
N
W E
S
Addresses to the North:
Addresses to the West:
Addresses to the South:
Addresses to the East:
Signature indicates you have seen a sketch and support installation Signature Address Print Name Date
Signature Address Print Name Date
Signature Address Print Name Date
Signature Address Print Name Date
Signature Address Print Name Date
Add sheets as needed
N/A5616 Bay Street 5634 and 5630 Bay Street N/A
Lynne-Rachel Altman <[email protected]>
Emeryville community grant
Lynne-Rachel Altman <[email protected]> Thu, Feb 23, 2023 at 2:26 PM
To: "[email protected]" <[email protected]>, Richard Jennings <[email protected]>
Hello:
I am a Berkeley artist, born and raised in the Temescal Watershed and have only recently learned about your work to rematriate your ancestral lands.
I am applying with Berkeley Composer Richard Jennings to do a temporary site specific visual art/music/video ritual at the mouth of Temescal creek (where the Emeryville South Bayfont Bridge terminates at "Ohlone Way".
As part of the application process the city of Emeryville requests the property owner is in support of the project. Would your organization be interested in writing a letter of support?
Here is our project proposal. Looking forward to hearing your thoughts. "The Mouth of the Temescal Creek Watershed” is an artist led, temporary, multifaceted, socially engaged, site specific work using amplified live chorus, video projection, and text inscribed in melting ice to help us articulate partnership with our local waters.
Situated at the western foot of the South Bayfront bridge, (located at the Southeast corner of the intersection of Bay Street and Ohlone way, the homeland and sacred site of the Lisjan people, with views of freeways rimming the Pacific waters) the artists will respond to distant melting glaciers with their own melting tear shaped ice; and to threatening sea rise with a chorus of rising song. They will collect crowd sourced thoughts on our current relationships to climate peril and translate these into abstracted video projections of water currents and charts navigating a course forward. Based on the jewish tradition of Tashlich, when folks collectively cast their sins into a moving body of water as a way to lighten their souls, the project asks Temescal creek to help us shed remorse for our part in climate change, the stress we have carried from recent droughts and storms, and our dread of continuing climate peril. We believe that positive action is only possible with the recognition and expression of grief shared in community. In this way, the event provides an opportunity for us to gather together and partner with the water to seek collective healing and positive change.
I am at 510-847-2780
Thank you for your consideration
All the best,
LR
--
Lynne-Rachel Altman
she/her/hers
https://www.lynnerachelaltman.com/
https://www.instagram.com/lr.altman/
https://www.facebook.com/lr.altman
Lynne-Rachel Altman <[email protected]>
Re: The Mouth of the Temescal Creek Watershed Community Event
Christa Williams <[email protected]> Sat, Feb 25, 2023 at 8:34 AM To: Lynne-Rachel Altman <[email protected]>
Cc: Izamar Hook <[email protected]>, Richard Jennings <[email protected]>, Sarah Lockhart <[email protected]>, Peter Allen <[email protected]> Good morning Lynne-Rachel,
I did want to confirm with you that we have received this request. This will take us some time to review with our team. I can’t guarantee that we can turn a response around by Monday, but we will certainly take this into consideration and get back to you as soon as possible.
Thank you.
Christa Williams
Marketing Director – Bay Area
CENTERCAL PROPERTIES, LLC|Creating Value for Retailers and Communities O: 925.265.6840
C: 510.506.5119
https://www.baystreetemeryville.com/
https://shoptheveranda.com/
http://centercal.com/
Sent from my iPhone. Please excuse any typos.
On Feb 23, 2023, at 11:04 PM, Lynne-Rachel Altman
<[email protected]> wrote:
Hi Izmar and Christa:
My team of talented artists want to create a temporary multi media public art event at the north foot of the pedestrian bridge and Temescal Creek. We would love to work with Bay Street Center to make this a great event! We are applying for an Emeryville Community Grant and have the support of ProArts, members of the Emeryville arts commission and the City Council; it would mean a lot to us to have your support as well. I am attaching a PDF of our project proposal and would like to get your feedback on our ideas. Also including the Neighboring Address Notification sheet if you want to work with us.
I am submitting our application on Monday February 28 and want to take your needs into consideration. Would one of you have time to talk with me this Friday?
I am at 510-847-2780
Looking forward to hearing your thoughts!
All the best,
LR Altman
The Mouth of the Temescal Creek Watershed
--
Lynne-Rachel Altman
she/her/hers
https://www.lynnerachelaltman.com/
https://www.instagram.com/lr.altman/
https://www.facebook.com/lr.altman
<temescal watershed proposal.pdf>
<Microsoft Word - Community Grant Application-Page 6.pdf>
Link to EmoChART Video
EmoChART Stickers and Feelings Charts
3 Walls on either side of Ohlone Way could be used for video:
Potential power
sources on
pedestrian stairs for
amplified music and
video projection:
5 "The Mouth of the
Temescal Creek
Watershed” is an artist led,
temporary, multifaceted,
socially engaged, site
specific work using
amplified live chorus, video
projection, and text
inscribed in melting ice to
help us articulate
partnership with our local
waters.
Situated at the western foot
of the South Bayfront
bridge (located at the
Southeast corner of the
intersection of Bay Street
and Ohlone Way, the
homeland and sacred site
of the Lisjan people, with
views of freeways rimming
the Pacific waters), the
artists will respond to
distant melting glaciers with
their own melting tear shaped ice, and to threatening sea rise with a chorus of rising song. They will collect crowd sourced thoughts on our current relationships to climate peril and translate these into abstracted video projections of water currents and charts navigating a course forward.
Based on the Jewish tradition of Tashlich, when folks collectively cast their sins into a moving body of water as a way to lighten their souls, the project asks Temescal Creek to help us shed remorse for our part in climate change, the stress we have carried from recent droughts and storms, and our dread of continuing climate peril. We believe that positive action is only possible with the recognition and expression of grief shared in community.
In this way, the event provides an opportunity for us to gather together and partner with the water to seek collective healing and positive change. 6 Bios
Composer Richard Jennings, and visual artists Lynne-Rachel Altman and Peter EV Allen are Temescal watershed residents. Neighbors, they live in close proximity to Harwood Creek, which feeds into Temescal on its way to the bay.
C A L I F O R N I A
Community Grant Application
Attachment A
Insurance Affidavit
If awarded a Visual Arts Grant from the City of Emeryville I understand all installation work shall require insurance $1,000,000.00 per occurrence and $2,000,000.00 aggregate for bodily injury, personal injury and property damage, including without limitation, blanket contractual liability and as a Contractor shall, at its expense, procure and maintain for the duration of the Contract insurance against claims for injuries to persons or damages to property which may arise from or in connection with the performance of the Work or Services required by the Contract including Contractor, its agents, representatives, employees or subcontractors. Contractor shall also require all of its subcontractors to procure and maintain the same insurance for the duration of the Contract. The insurance coverage shall be primary insurance as respects the City, its officials, employees, agents and authorized volunteers, or if excess, shall stand in an unbroken chain of coverage excess of Contractor’s scheduled underlying coverage.
Any insurance or self-insurance maintained by the City, its officials, employees, agents and authorized volunteers shall be excess of Contractor’s insurance and shall not be called upon to contribute with it in any way.
Costs for the policy are the sole responsibility of the applicant though policies are an eligible cost of awards.
Signature Print Name Date
Lynne-Rachel Altman 2/23/23
Lynne-Rachel Altman <[email protected]>
Emeryville community grant
Lynne-Rachel Altman <[email protected]> Thu, Feb 23, 2023 at 2:26 PM
To: "[email protected]" <[email protected]>, Richard Jennings <[email protected]>
Hello:
I am a Berkeley artist, born and raised in the Temescal Watershed and have only recently learned about your work to rematriate your ancestral lands.
I am applying with Berkeley Composer Richard Jennings to do a temporary site specific visual art/music/video ritual at the mouth of Temescal creek (where the Emeryville South Bayfont Bridge terminates at "Ohlone Way".
As part of the application process the city of Emeryville requests the property owner is in support of the project. Would your organization be interested in writing a letter of support?
Here is our project proposal. Looking forward to hearing your thoughts. "The Mouth of the Temescal Creek Watershed” is an artist led, temporary, multifaceted, socially engaged, site specific work using amplified live chorus, video projection, and text inscribed in melting ice to help us articulate partnership with our local waters.
Situated at the western foot of the South Bayfront bridge, (located at the Southeast corner of the intersection of Bay Street and Ohlone way, the homeland and sacred site of the Lisjan people, with views of freeways rimming the Pacific waters) the artists will respond to distant melting glaciers with their own melting tear shaped ice; and to threatening sea rise with a chorus of rising song. They will collect crowd sourced thoughts on our current relationships to climate peril and translate these into abstracted video projections of water currents and charts navigating a course forward. Based on the jewish tradition of Tashlich, when folks collectively cast their sins into a moving body of water as a way to lighten their souls, the project asks Temescal creek to help us shed remorse for our part in climate change, the stress we have carried from recent droughts and storms, and our dread of continuing climate peril. We believe that positive action is only possible with the recognition and expression of grief shared in community. In this way, the event provides an opportunity for us to gather together and partner with the water to seek collective healing and positive change.
I am at 510-847-2780
Thank you for your consideration
All the best,
LR
--
Lynne-Rachel Altman
she/her/hers
https://www.lynnerachelaltman.com/
https://www.instagram.com/lr.altman/
https://www.facebook.com/lr.altman
Lynne-Rachel Altman <[email protected]>
Re: The Mouth of the Temescal Creek Watershed Community Event
Christa Williams <[email protected]> Sat, Feb 25, 2023 at 8:34 AM To: Lynne-Rachel Altman <[email protected]>
Cc: Izamar Hook <[email protected]>, Richard Jennings <[email protected]>, Sarah Lockhart <[email protected]>, Peter Allen <[email protected]> Good morning Lynne-Rachel,
I did want to confirm with you that we have received this request. This will take us some time to review with our team. I can’t guarantee that we can turn a response around by Monday, but we will certainly take this into consideration and get back to you as soon as possible.
Thank you.
Christa Williams
Marketing Director – Bay Area
CENTERCAL PROPERTIES, LLC|Creating Value for Retailers and Communities O: 925.265.6840
C: 510.506.5119
https://www.baystreetemeryville.com/
https://shoptheveranda.com/
http://centercal.com/
Sent from my iPhone. Please excuse any typos.
On Feb 23, 2023, at 11:04 PM, Lynne-Rachel Altman
<[email protected]> wrote:
Hi Izmar and Christa:
My team of talented artists want to create a temporary multi media public art event at the north foot of the pedestrian bridge and Temescal Creek. We would love to work with Bay Street Center to make this a great event! We are applying for an Emeryville Community Grant and have the support of ProArts, members of the Emeryville arts commission and the City Council; it would mean a lot to us to have your support as well. I am attaching a PDF of our project proposal and would like to get your feedback on our ideas. Also including the Neighboring Address Notification sheet if you want to work with us.
I am submitting our application on Monday February 28 and want to take your needs into consideration. Would one of you have time to talk with me this Friday?
I am at 510-847-2780
Looking forward to hearing your thoughts!
All the best,
LR Altman
The Mouth of the Temescal Creek Watershed
--
Lynne-Rachel Altman
she/her/hers
https://www.lynnerachelaltman.com/
https://www.instagram.com/lr.altman/
https://www.facebook.com/lr.altman
<temescal watershed proposal.pdf>
<Microsoft Word - Community Grant Application-Page 6.pdf>
Link to EmoChART Video
EmoChART Stickers and Feelings Charts
There is a growing global movement to connect children and nature, given the numerous benefits it provides to children and the environment. The social, emotional, physical, and cognitive benefits for the children are well studied and documented, and the relationship they develop with the natural world encourages them to protect it. Emeryville also has a clear need to connect city children with nature. The city lacks safe natural areas for any children to explore, which creates major inequitable access to nature for the many low income children in our city.
Emeryville's Parks and Recreation Committee has made the recommendation to the city council to create a children and nature program. The recommendation was well received, and has mayoral support, but the city doesn't have the funds to adequately dedicate staff to begin creating the robust and effective program our community needs. This Emeryville Children and Nature project will be a catalyst for the city to start their program, as its effects will have a lasting impact on the community and city staff after it is completed. San Francisco has a particularly inspiring children and nature program, and Emeryville Children and Nature is in contact with their staff and has numerous resources available from them to use for this project. Emeryville staff has already been contacted and they are in support of the project. The project is outlined here, and resources and information about each item are included as attachments:
1. Build Create-with-Nature kits to be donated and used throughout the community:
-large ones to be used on a mobile rec/nature vehicle and/or cart, and at nature pop-ups (city staff has confirmed intention for such a vehicle or cart) -medium sized for schools, ECCL, and other community sites -smaller ones for kids to use at home
2. Host nature pop-ups throughout the city, with a focus on Creating-with-Nature
3. Coordinate training for staff at ECCL, the after school program, and their garden program to enhance students connection to nature
4. Create a pilot "explore and create with nature" area(s) at a city park(s)
5. Create a strategic plan for the city to fully develop a robust children and nature program
6. Research and present funding opportunities for the city to support the children and nature program
Below are examples of how cities leveraged federal funds to make improvements that also increase children’s access to nature:
Building Resilient Infrastructure and Communities (BRIC): Northwest Resiliency Park, one of the only resiliency parks in the nation, will be the largest park in Hoboken, New Jersey at 5.4 acres, providing the City with recreation and public space. It will have strategic installations of green infrastructure and innovative stormwater management measures. The City undertook an extensive community engagement process to ensure the park is well-adapted to the needs of the surrounding community.
This engagement included a survey, public participation events, a community design charrette, and many public meetings.
Clean Water State Revolving Fund (CWSRF): The Camden County Municipal Utility Authority received a $5.4 million loan from the New Jersey Infrastructure Bank, the state’s CWSRF, to fund a city-wide nature-based solutions project. The project has an estimated cost savings of $3.1 million over the 30- year loan. It involves building nature-based solutions throughout Camden, including rain gardens and porous concrete sidewalks, as well as a green jobs training program for youth in the maintenance of nature-based infrastructure.
Outdoor Recreation Legacy Program (ORLP): The City of Mobile transformed Three Mile Creek from a degraded urban stormwater conveyance into a community asset that connects diverse neighborhoods and provides new recreation opportunities, including a park. The grant supported the initial construction of a greenway system in a low-income, minority area that previously had limited recreational resources.
Flood Mitigation Assistance (FMA): Resilient St. Vrain restored the St. Vrain Creek Greenway Trail System in Longmont, CO. The project implemented channel improvements to the creek to help mitigate the impacts of future flooding. The end result was a unique opportunity for recreation for residents and visitors called Dickens Farm Nature Area. This section was converted into a nature preserve with kayak launches, shelters, restrooms, and a “nature discovery area” for children. This project not only helped protect life and property but also created multiple co-benefits for the community, in the form of recreation and environmental benefits.
While using federal funding to achieve city goals is not a new concept, the focus on equity and nearby nature investment in nature-deprived communities is of elevated priority in many of the grants listed.
The examples in the guide call out water infrastructure and climate resilience projects that in addition to employing green infrastructure to improve an area, can also provide new or repurposed space for children to nature connection.
What are some essential key points that cities should keep in mind when looking to apply for these federal grants to support children and nature? Focus on aligning several cities’ goals together, such as infrastructure, climate change, sustainability, access to nature, and health and well-being.
Keep equity at the forefront – what populations or areas could benefit from this project including naming ways to achieve gains through children’s access to nature Partnership is valued. So cities (especially smaller or mid-sized cities) may want to partner with local community organizations, work across agencies and departments, or even collaborate with other nearby towns and cities.
Borrowing language from a previous NLC transportation article: “Local governments will want to have bold projects in mind that align with local, state, and federal goals. Elected officials should begin by researching h i h hi l l l h b i
Skip to Content
Create-With-Nature: Natural Loose Parts
SF Children & Nature
How to create your own kit of loose natural parts for use in create-with-nature programming.
Storage and transportation:
The Original Nature Cart | Created as a prototype for the 2016 Market Street Prototyping Festival. A portable cart with built-in storage and table, that mobilizes create-with-nature programs. See Instructables for instructions on how to build Other modes of transport:
www.sfchildrennature.org
Storage Inspiration: Loose Parts Storage by Nature’s Instruments and Consortium Bins and Crates:
Storage: IKEA Crates, small ($5.99) and medium-size ($9.99) These are fairly cheap and stackable. When they are heavily loaded the staples don’t always hold up. We add an additional 8 screws to connect the top horizontal slats to the vertical supports to make the crates last longer.
These come flat packed and have to be assembled. We’ve seen similar pre built boxes at Home Depot but they are not stackable and don’t look as sturdy.
Stackable wood crate: Joannes ($14.99)
These would be good for a classroom setting. But we have no experience with them Milk Crates: Yes, we know these are not natural, but for high usage places, these are recommended as a more durable solution. Crates can be placed upside down to serve as tables, seats or steppers. For bulk purchases
www.sfchildrennature.org
Bark
Fallen bark from various tree species
Rocks
Look for various textures, shapes and sizes. Consider Lava Rock, River Rock and polished stones.
Sources: The Home Depot, Lyngso Garden Supplies, Lowes
Oyster Shells
Sources: See if you can go to your local seafood restaurant and ask the owners if you can collect their used shells.
Wild Oyster Project
Other sources: Amazon.com
WikiHow | How to Clean
Branches with Y forms for den building
www.sfchildrennature.org
Conifer Cones (Pine Cones)
Seed Pods
Bamboo
See play ideas here.
Other materials to consider:
Eucalyptus pods and other seeds
Agapanthus dried flowers 12 (2’-3’ tall)
Branches with Y forms 7 (50” long)
Eucalyptus pods 1 gallon
Fennel sticks (7”x .75) 2 gallons
Fresh greens a variety of shapes
Other items to consider:
Home Depot | Gorilla Cart and Heavy Duty
Instructables | Hand Cart
IKEA | Toy Storage with Casters
Additional Resources:
SF Children & Nature | Guide to Create-with-Nature Programming Instructables | Create-With-Nature Cart
Fairy Dust Teaching | Assembling Your loose parts kit
Fantastic Fun and Learning | Loose Parts Play
www.sfchildrennature.org
Additional Game Ideas
Sources and additional info:
Zach Pine Handout |Making and Using Create-with-Nature
Zones - 2019
SF Children & Nature | Nature Exploration Area Design Guide Alliance for Childhood | Playwork Primer by Penny Wilson Imagination Playground | The role of the play associate Wild Zones | Create with Nature Toolkit
Wild Zones | Play Ranger Kit - how to facilitate create-withnature play | Website Fairy Dust Teaching | Loose Parts Play
Fantastic Fun and Learning | Outdoor Play with Loose Parts Instructables | Building a Create with Nature Cart
Project Learning Tree | How to Make Tree Cookies
EcoKids | Playwork and Professional Development
National Guidelines: Nature Play & Learning Places by Robin C. Moore
San Francisco Children & Nature
In collaboration with Zach Pine Create with Nature
www.sfchildrennature.org email: [email protected]
Making and Using Create-with-Nature Zones
Zach Pine zpcreatewithnature.com
Link to related resources: www.zpcreatewithnature.com/resources.html
1. Setting up a Create-with-Nature Zone
A. Delineate a space for the Zone (or choose an already-existing area) that matches the size of your group. A cozy space promotes more interaction. Stumps or logs can be used to define the border. A mostly-enclosed area with a curved/rounded layout is best.
B. Placing a “nature library” of loose natural materials in baskets, bins, or loose piles at the perimeter can be used to define some or all of the edges of the Zone.
C. Groundcover: Any ground surface is useable (including concrete), but small natural materials tend to get lost on a surface with wood chips or grass. Soft ground cover such as sand, small pebbles, soft soil can be used for poking things into so they stand up on their own.
D. Within the Zone, backgrounds or bases (fixed in place or movable) are especially important if the ground is grass or wood chips. Stumps, flagstones, rounds of wood (tree “pizzas”), or big leaves can serve as backgrounds or bases.
E. Accessibility: Stumps can be used as natural “tables” for creating on.
Materials that can be used to build upwards (for example making small standing structures from branches leaned together) can be used by people joining in from a chair or wheelchair.
2. Materials (“loose natural parts”)
A. In natural settings, sufficient materials can be collected from the ground: leaves, sticks, rocks, acorns, pinecones, etc. Be aware of impacts to ecosystems and habitats. Baskets or bins are helpful but not required.
B. In less natural settings, outside materials need to be gathered and stored in containers in advance. Examples of materials: rock, stick, flower (and flower parts), seed, pod, leaf, wood (branches can be sawed into tree “cookies,” “muffins,” “arepas,”and “cakes”), root, shell, needle, flower cap, stem, stalk, culm, bark, seaweed, egg case, bone, nut, sand, mud, cone, frond, coral, ice, vegetables, fruits, spider web, water, wind, light.
C. Special note about sticks: straight sticks with no branches are more likely to be used as swords, spears, or pretend guns. Sticks with branching Ys and/or with leaves attached are less weaponizable, and they are easy to link together to make structures like dens.
D. Pitfalls
a. Too many materials can lead to clutter, and also give fewer opportunities to share; scarcity can lead to more collaboration. b. Materials that are too pretty or rare (like flowers) can send the message that this kind of nature play can only be done with “special” materials rather than with the more common
materials such as leaves and sticks that are easy to find in nearby nature.
c. Be aware of potential hazards such as choking, injury, or poisoning from some materials.
3. Techniques for facilitating unstructured creative play with nature A. Define and keep your intentions in mind
a. Some possible intentions: provide an opportunity for creative expression and collaboration; connecting participants with nature and each other; providing a model of personal and collective action; specific curricular goals. Be aware of how much leading or facilitating is called for.
B. Tap into natural drives: to create, to touch and explore nature, to connect with others, to explore and learn.
C. Pitfalls: getting too attached to one's creation, freedom without responsibility, shyness, and fear.
D. Show, don't tell: lead by example and modeling as much as possible a. Model ephemeral unstructured creating: make something, allow yourself to be excited about it, and then recycle it and start over. b. Ask to join in. Ask others to join in. Share materials. c. Check if a creation is in use before recycling it. Call out: “Is anyone using this?” In some settings, it can be helpful to make this a “rule” that we all try to adhere to.
E. Let the materials and the attraction to nature do the talking a. Simply hand a compelling item to a disengaged person to engage them.
F. Look for, and help participants to form, additive and complementary groupings with each other. For example:
a. Two people can build a wall faster than one.
b. A wall builder and a wall decorator can work together to make a beautiful wall .
G. Anticipate, try to prevent, and intervene early when these potential obstacles arise calibrate your response to the needs of the group
a. impending collapses/frustration
b. "turf" protection and hoarding
c. weapon making
d. breaking materials (Ask the person why they want to break it. is it 'to make,' 'to learn,' 'to share'?) e. spectators
f. personality conflicts
g. figurative or representational expression can be great, but make sure some don’t feel unable to join in.
H. Photography
a. Can impede creativity (makes creations more “permanent” and therefore adds a pressure for “perfection”).
Posing for photos can interrupt the creative flow.
b. Can be important for documentation, as a foundation for other activities (like writing or story-telling), and as a memory aid.
I. “Memory photos”
a. You can show people how to look through a “memory camera”-- a “frame” made by putting the tip of each of your thumbs on the tip of the index finger of the opposite hand. Arrange your “photo” (you can zoom in or out also), say “click,” close your eyes, and then describe what you saw. You can ask people to “test” their memory cameras by taking a “picture” of you.
Memory photos are useful for helping people let go of creations that need to be recycled, and for various games.
4. Structured Activities and Games
Unstructured play and creativity in and with nature is most important, but in some situations it’s helpful to introduce games.
In a large group, you can play one of these with a person or a few people who seem bored, scared, or left out. In a large group, you can play a game with everyone as an icebreaker and to overcome obstacles like fear of sitting on the ground or fear of not being “creative.” Once you play a bit, you can encourage them to make up their own games, or to just create in an unstructured way. Adaptations of these games can be used for participants with disabilities.
A. “Silent Conversation”
● Two people (can be done with up to four people) collect a shared “nature library” of perhaps 10-20 small items, and place it where they can both reach it, near a “blank” space where they can create together. The game is played in silence.
● The person with the shortest hair goes first. That person chooses any item from the library and places it in the blank “creation space.” The other (or next) person then has their turn, choosing an item from the library, and adding it to the first item to make a creation of two items. ● The process continues with turn-taking, with the rule that you can’t move items once they are placed, and the game ends when players agree (silently) that they are done. ● Take a memory photo before recycling if you wish. Depending on time available, repeat.
B. Speedy group creations with and without “rules.”
○ This can be done with any size group, even with just two people. ○ This can be modeled by you solo, using 5 or 10 items and making something abstract in 10 seconds, then taking a quick memory photo, recycling, and repeating.
○ Using a shared “nature library,” the group has a very short time (perhaps 30 seconds for a pair, or two minutes for a group of 20 people) to make a creation together without any planning. ○ After a memory photo, an option is to lead a discussion about the process (some may say the process was chaotic, or that the “creation” looks “messy”).
○ Recycle the materials (move them to the side), and repeat with one simple rule: no moving objects, and each object must touch but not be on top of another object. ○ After a memory photo, an option is to lead a discussion about this process and outcome versus the first time with no rules.
○ Depending on the size and abilities of the group, you can then invite suggestions for a new rule or rules for the next round. For example, “try to overlap” or “only build onto the edge.” C. Solo --> pair --> quartet --> whole group creations (with silent memory camera tours and listening practice):
○ This is especially good for groups of 8 or more, but can be adapted for just two people. ○ Each person selects a spot for creating, about 6 feet from another person’s spot, or several other persons’ spots, then collects a small personal nature library (depending on groups ability, and available time, collect 10-20 items).
○ People are invited to spend a set amount of time (1-2 minutes) making a solo creation with their materials in their spot. Depending on size of the group and available time, you can do a “silent memory camera tour and listening practice” (see below for instructions).
○ Then each person stands by their creation, and faces the closest other person; that will be their partner for the next step. You may need to help negotiate partnership-forming with some groups to make sure everyone is included (with an odd number of people, you can make one trio to include everyone). ○ Then each pair (or trio) recycles their materials and brings them to a spot halfway between their solo spots.
The pair (or trio) is then invited to spend a set amount of time (1-2 minutes) making a single creation together with their materials in their spot.
○ Depending on size of the group and available time, you can do another “silent memory camera tour and listening practice” (see below for instructions). The process is then repeated, with pairs (and a trio if there is one) finding the nearest pair, and forming a group of four (or five), recycling, pooling materials, and making one creation together. (Depending on the abilities of the group, it may be challenging to create together as a 4 or 5-person group without some structure or group decision-making process in place. You can take a break to discuss methods for group creating and decision-making with the whole group, before each 4 or 5-person group begins. Consider inviting and giving some suggestions for working as a group. One suggestion might be to “take turns” adding items. ) Allow a bit more time for a 4-person creation (2-5 minutes). After the creations are finished, depending on size of the group and available time, you can do a “silent memory camera tour and listening practice.”
○ If the entire group is more than 4 people (this works even for very large groups), you can repeat the process with the whole group pooling materials and creating together.
D. “Silent memory camera tour and listening practice”:
○ Depending on the size and abilities of your group, organize a single-file silent “tour” of the creations, with the instruction that each person should take a memory photo of one creation that they did not make , and try hard to remember it for after the tour. (See “Memory Photos” section above for how to use a memory camera, if the group has not already been taught.)
○ Then collect the group in such a way that they are facing away from all the creations and ask if anyone wants to share their memory photo. Call on someone and remind them not to say the name of the person or people who made the creation, and not to turn around and look or point at the creation they are describing. Remind the group that they are about to hear about a creation that might be theirs. ○ As the “photographer” describes their memory photo, look for signs of recognition in the group. Each person should be intently listening in hopes they will hear about their own creation. Help the photographer to make the description more vivid and specific if needed. ○ Then ask the group to raise a hand if they think they know which creation was described (but not to turn around). Then ask the group to raise a hand if they think it was something they made. Then ask the photographer to turn around and point out the creation. Repeat with another photographer or a few. If the group starts to get restless, or there are no more volunteers wanting to describe their photo, you can prompt the group as a whole, using questions like “Raise your hand if your memory photo has a stick in it,” “Raise your hand if your memory photo has more than two colors in it,” etc.
E. Group creation with one specially chosen object per person. ● Good for 2 or more people.
● After circling up, everyone is invited to spend a minute to leave and find and bring back one special natural item. Leader does the same.
● Go around the circle, with each person explaining why they chose their item and giving it a descriptive name (such as “Skinny Stick,” or “Fred the Flat Rock”). Leader models first. ● Explain that the plan is to combine all the items in a single group creation, but first, imagine how your special object could be part of the creation, then share the name of your object and how it can contribute.
Leader models. For example, “Fred the Flat Rock wants to lie flat on the ground and have other items rest on top of him.” Go around the circle, sharing the names of the items, and the roles they could have. ● Make the group creation, with items contributing in the ways described. Depending on the abilities and size of the group, some structure might be suggested, such as taking turns, or contributing by groups of three.
Leader demonstrates with one or two volunteers, and models negotiating roles through conversation. For example, “Oops, you put Skinny Stick under Fred, but he likes to lie flat on the ground. Can you go “next-to” or “on-top-of instead?” After the group creation is finished, depending on abilities and size of the group and time available, you can discuss the process and set rules for another round.
F. Circle camera game.
● Can be done with very large groups, or groups as small as 4. ● Each person (including the leader) collects a personal nature library of 10-20 miscellaneous items (number depending on abilities of group), and the group sits in a circle, with a small “creating space” in front of each person, and the nature library to the side of the creating space. If the ground is uneven - wood chips for example each person can clear or smooth out a circle for the creating space. ● The leader then gives a short time (one minute usually works well) for each person to make a creation in their space. The leader then explains that they will show how the game works by being the first “photographer,” and that after that, someone else will be the next photographer. ● The leader stands, goes to the middle of the circle, and explains that they will be taking a memory photo of one of the creations, but no one will know which one. They ask everyone to stand and turn around, facing away from the center. The leader takes a memory photo, saying “click” loudly, and telling the group they can turn back around to face in. The photographer says “I’ll be describing my photo. As soon as you think you know which creation I’m describing, point to it. You can change your mind as you hear more description. I’m not going to look at the creation, because that would give away the secret. I’m going to look up at the sky while I describe it.”
● Then the leader looks at the sky, and describes the chosen creation. Once a few people are pointing at the creation, the leader says “Ok, who wants to be the next photographer?” Repeat with different photographers. If the group gets fidgety, recycle the materials and make new creations, then start with a new photographer.
G. “Telephone” visual memory game.
● Good for any size group. (If done as a pair, do it side-by-side, and replace “look at the creation to your right” with “look at the other person’s creation.”)
● Participants sit in a circle, and each has a small, identical nature library. It’s good to start small (for example, two sticks and one leaf) for learning the game, and later use more and more materials depending on the abilities of the group.
● Everyone makes a mini-creation and shows hands (palms) when ready. Leader explains “When I say go, we will all be copying the creation to our right” (it is helpful to have everyone point to the creation to their right).
● Then the leader says “Go!” and says “when you’re done, show the palms of your hands.” Then the leader explains, “we will keep doing the same thing, each time I say ‘Go.’ Ready? Look to your right. Go!” Continue the game, with reminders if needed to show hands after each cycle. ● Increase the number and/or variety of items in each library to keep it challenging and interesting (for example, each person could have 5 sticks, 5 leaves, and a rock). ● Depending on the size of the group, you can present a challenge to go “all the way around” and end up with your original creation.
Day.
“Every child, in every neighborhood, should have the chance to play and explore in nature. Research tells us that being in nature improves our mental and physical health, reduces stress, and even helps heal trauma. All San Franciscans should have access to these health benefits.”
—Mayor London Breed
San Francisco Children &
Nature
A CITY-WIDE COLLABORATIVE
SF Children & Nature is a cross-sector
collaborative that works to ensure all children &
youth growing up in the city have the same
opportunities to PLAY, LEARN and GROW in
NATURE.
Founded in 2017, SF Children & Nature now
Home Discover Nature Why Nature? Design for Nature Connection News Who We Are Connect
national Cities Connecting Children to
Nature (CCCN) initiative and is working
to address the disparities in nature
access along socioeconomic and racial
lines to ensure all children have the
opportunity to play, learn and grow in
the outdoors.
network of nature
and play advocates.
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Emeryville Children & Nature
Benefits for Children in Nature
● Mental health
– cognition, focus, academic performance
● Physical health
– active & outside
● Emotional health
– happier, calmer, resilient
● Social health
– connection, community, cooperation
● Environmental advocacy
– we protect what we love
Emeryville
● Very limited opportunities for nature
exploration
– Marina nature is surrounded by cars and rocks
● Inequitable acess to nature
– Without local opportunities, nature access is often
limited only to families with resources
Our Goal:
Increase Local Access to Nature
● ECCL
– Create-with-Nature kits (incl'd mobile rec van)
– staff training
● Parks
– nature pop-ups
– pilot nature areas
● City
– outline strategic plan and funding opportunities
Resources and Experience
● SF Children and Nature guides
– Kits
– Pop-ups
– Training
– Nature Exploration Areas
● Cities Connecting Children & Nature guides
– Policy
– Funding
Resources and Experience (con't)
● Supported by:
– Community Services
– Parks and Recreation Advisory Committee
– City Council
● Davenport Park - Nature Exploration Area
– Successful grassroots project
● Pop-up at Emeryville Healthy Families Event
– Create-with-Nature
Nature Exploration Area at
Davenport Playground
Create-with-Nature Pop-Up at
Emeryville Healthy Families Event
Create-with-Nature Pop-Up at
Emeryville Healthy Families Event
Create-with-Nature Pop-Up at
Emeryville Healthy Families Event
Kala Art Institute – Youth Arts Education Programs - Emeryville For over ten years Kala has offered high-quality art classes in collaboration with Anna Yates, Emery High School, Emeryville Recreation Program and ECCL - connecting Emeryville youth with passionate teaching-artists and engaging art projects.
Kala Art Institute – Youth Arts Education Programs - Emeryville With your support Kala’s Artists-in-Schools program will return to Anna Yates and Emery High for programs like art club and other visual arts engagement and programs.
Kala Art Institute – Youth Arts Education Programs - Emeryville If you have any questions about Kala’s youth arts programming, please contact Gisela Insuaste, Director of Education & Public Programs – [email protected] Kala Art Institute – Youth Arts Education Programs - Emeryville Thank you for your support and consideration!
--
Internal Revenue Service Department of the Treasury
P. 0. Box 2508
Cincinnati, OH 45201
Person to Contact:
Richard E. Owens
Customer Service Representative
Toll Free Telephone Number:
Date: August 8, 2003
Stagebridge
2501 Harrison St
Oakland, CA 94612-3811
8:00 a.m. to 6:30 p.m. EST
877-829-5500
Fax Number:
513-263-3756
Federal Identification Number:
Dear Sir or Madam:
I
In August 1983 we issued a determination letter that recognized your organization as exempt from federal income tax. Our records indicate that your organization is currently exempt under section 501 (c)(3) of the Internal Revenue Code.
Based on information subsequently submitted, we classified your organization as one that is not a private foundation within the meaning of section 509(a) of the Code because it is an organization described in section(s) 509(a)(1) and 170(b)(1)(A)(vi).
This is in response to your request of August 8, 2003 regarding your organization's tax-exempt status.
This classification was based on the assumption that your organization's operations would continue as stated in the application. If your organization's sources of support, or its character, method of operations, or purposes have changed, please let us know so we can consider the effect of the change on the exempt status and foundation status of your organization.
Your organization is required to file Form 990, Return of Organization Exempt from Income Tax, only if its gross receipts each year are normally more than $25,000. If a return is required, it must be filed by the 15th day of the fifth month after the end of the organization's annual accounting period. The law imposes a penalty of $20 a day, up to a maximum of $10,000, when a return is filed late, unless there is reasonable cause for the delay.
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Donors may deduct contributions to your organization as provided in section 170 of the Code. Bequests, legacies, devises, transfers, or gifts to your organization or for its use are deductible for federal estate and gift tax purposes if they meet the applicable provisions of sections 2055, 2106, and 2522 of the Code.
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Stagebridge
Your organization is not required to file federal income tax returns unless it is subject to the tax on unrelated business income under section 51 1 of the Code. If your organization is subject to this tax, it must file an income tax return on the Form 990-T, Exempt Organization Business Income Tax Return. In this letter, we are not determining whether any of your organization's present or proposed activities are unrelated trade or business as defined in section 513 of the Code.
Section 6104 of the Internal Revenue Code requires you to make your organization's annual return available for public inspection without charge for three years after the due date of the return. The law also requires organizations that received recognition of exemption on July 15, 1987, or later, to make available for public inspection a copy of the exemption application, any supporting documents and the exemption letter to any individual who requests such documents in person or in writing. Organizations that received recognition of exemption before July 15, 1987, and had a copy of their exemption application on July 15, 1987, are also required to make available for public inspection a copy of the exemption application, any supporting documents and the exemption letter to any individual who requests such documents in person or in writing.
For additional information on disclosure requirements, please refer to Internal Revenue Bulletin 1999 - 17.
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This letter affirms your organization's exempt status.
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Customer Account Services