FY24-Our Town FY24 FDR - OUR TOWN

OMB No. 3135-0140
Expires xx/xx/xxxx
National Endowment for the Arts

FY24 FINAL DESCRIPTIVE REPORT - OUR TOWN
November 2022

PART I: PROJECT NARRATIVE
In this section, please respond to each narrative question in the text fields provided below. You may cut and paste the answer
into the form from another document, but please limit your response to the posted character limits. As you exit each text field, it
will expand to show your entered text.
Within your narrative, please discuss the activities funded by the National Endowment for the Arts and the project
cost share/match reported on your Federal Financial Report. Include any relevant web links. On occasion you may be
contacted for copies of programs, reviews, relevant news clippings, playbills, publications, video or audio recordings,
or other evidence of your accomplishments, including evidence of your acknowledgement of National Endowment for
the Arts (NEA) support.

1. Describe the activities supported by this award. Please report solely on activities funded by the NEA and the project

cost share/match reported on your Federal Financial Report. These activities must be consistent with your
application narrative, the approved project budget, and any approved grant amendments. (3,000 character limit)

2. Describe how you monitored progress toward your project goals. Examples may include counting number of

audience members or tickets sold, surveying or interviewing audiences about their satisfaction with a program, or
conducting program evaluations. (1,000 character limit)

3. Did the project encounter any challenges that disrupted or otherwise hindered your ability to conduct the project
as planned? (Yes/No check box)

If yes, then please describe the challenge(s) and how you addressed them. (2,000 character limit)

4. What did the project accomplish for your organization? (2,000 character limit)
5. Please complete the following table regarding the involvement of key partners. If a key partner is an individual instead of
an organization, then select “Individual” from the “Type of Entity” dropdown menu.

For a list of colleges and universities designated as Alaska Native and Native Hawaiian Serving Institutions (AANHs) by the
U.S. Department of Education, please copy this URL into an internet browser:
https://www2.ed.gov/about/offices/list/ocr/edlite-minorityinst-list-pg11-tab.html
For a list of colleges and universities designated as Hispanic-Serving Institutions (HSIs) by the U.S Department of
Education, please copy this URL into an internet browser:
https://www.hacu.net/images/hacu/conf/2022CapForum/ResourcesMenu/2022_HSILists.pdf
For a list of colleges and universities designated as Historically Black Colleges or Universities (HBCUs) by the U.S.
Department of Education, please copy this URL into an internet browser:
https://sites.ed.gov/whhbcu/one-hundred-and-five-historically-black-colleges-and-universities/
For a list of colleges and universities designated as Tribal Colleges or Universities (TCUs) by the U.S. Department of
Education, please copy this URL into an internet browser:
https://sites.ed.gov/whiaiane/tribes-tcus/tribal-colleges-and-universities/

Name of Key
Partner

Did the
Partner
Contribute to
the Cost
Share/Match?
(Including
In-Kind)
(text field – 750 character limit per (Yes/No)
field)

Type of Entity

Nature of Involvement

(text field)

(drop down menu)
I.
Individual
II.
College/University, Alaska Native and
Native Hawaiian Serving Institutions
(AANH)
III.
College/University, Hispanic Serving
Institutions (HSI)
IV.
College/University, Historically Black
College or University (HBCU)
V.
College/University, Tribal College or
University (TCU)
VI.
Other College/University
VII.
Government - State
VIII.
Government - Regional
IX.
Government – County
X.
Government – Municipal
XI.
Government – Tribal
XII.
Organization—Arts Nonprofit
XIII.
Organization—Arts For-Profit
XIV.
Organization – Other Nonprofit
XV.
Organization – Other For-Profit
XVI.
Correctional Institution
XVII.
Foundation
XVIII.
Healthcare Facility (e.g., hospital,
clinic, or nursing home)
XIX.
K-12 School/School District
XX.
Mass Transit
XXI.
Military Base
XXII.
Public Library
XXIII.
Religious Organization
XXIV.
TV or Radio Station or other Media
Organization
XXV.
Other; please specify:
__________________
(text field)
(drop down menu)
(text field – 750 char.)
(text field)
(drop down menu)
(text field – 750 char.)
CLICK HERE TO ADD NEW ROW
*Funding from other federal government agencies CANNOT be included as cost share/match.

(Yes/No)
(Yes/No)

6. Please complete the following table regarding the involvement of key artists or designers (besides the NEA).
Name of Key Artist/Designer

Nature of Involvement

(text field)
(text field)

(text field)
(text field)

CLICK HERE TO ADD NEW ROW

PART IB: OUR TOWN NARRATIVE:
7. Long-term or system-level outcomes of Our Town projects may not be evident during or immediately after a
grant project’s period of performance. What early indications of change toward long-term or system-level
outcomes could you see by the end of your grant project? Select one or more of these early indications of
change from the list below and explain your selection(s) in the text box that follows. If none of these early
indications are visible, please select “none.”

□

Newly formed partnerships that have enhanced
expertise, increased access to the local community,
and enhanced potential for funding

□

Sustained partnerships that continue beyond the
grant period, increasing capacity to sustain
program activities and integrate arts, culture, and
design in other activities

□

Active communication of project successes,
increasing opportunities for funding, new
partnerships, and longer-term integration of arts,
culture, and design in community development

□

Increased receptivity to the arts and creative
placemaking at the local level, building buy-in to
the creative placemaking approach and increasing
the parties’ willingness to and interest in
participating in future creative placemaking
projects

□

New community and organizational expectations
for community engagement, increasing the
likelihood that the community and organization will
demand similarly engaged/interactive processes to
ensure ongoing development reflects community
needs and culture

□

Positive grantee reputation among the arts
community and within the local context,
positioning organizations as forces of positive
change in their communities and enhancing their
ability to sustain their work and influence systems
change

□

Artists trained in creative placemaking, replicating
or sustaining program activities and increasing
organizational capacity

□

Project outputs that include actionable policy
changes, such as local public space regulations or
changes to local zoning ordinances that can enable
future arts, cultural, and design activities. Note that
lobbying, including activities intended to influence
the outcome of elections or influence government
officials regarding pending legislation, either
directly or through specific lobbying appeals to the
public is an unallowable activity.

□

New hires or positions in grantee organization
that increase organizational capacity to sustain
project activities and influence organizational
norms, policies, and practices

□

Other – please describe:

□

None

Please explain your selection(s). Include any statistics or stories that demonstrate these outcomes. [2,000 characters]

PART IIA: INDIVIDUALS BENEFITED
Provide data for individuals who directly benefited during the period of performance. Leave blank any items that are not
applicable or for which actual figures do not exist.
Individuals Compensated from the Project Budget
1.

Enter the number of individuals who were paid, in whole or in
part, with project funds (both the NEA and the cost share)
reported on your Federal Financial Report.

a.

Artists

b.

Others (includes employees, temporary staff, support and technical
staff, and contractors who did not work as artists on this project)

Number of
individuals

Individuals Engaged in Arts Experiences
This section seeks data about any in-person and virtual engagement activities funded by the NEA and the project cost
share/match reported on your Federal Financial Report.
2. Did your project feature in-person, virtual, or a combination of in-person and virtual experiences with the arts? Projects may
include one or more of these types of arts experiences; please select one option only.
In-person only. Refers to projects with arts experiences that occurred 100% in-person and did NOT have an online
component.
Virtual only. Refers to projects with arts experiences that occurred 100% online.
Both in-person and virtual. Refers to projects with arts experiences that had both virtual and in-person components.

□
□
□

[The following question appears if the awardee selects “in-person only” for their project]

3.

Number

"In-Person Only" Arts Experience

Please enter the total number of people who
directly engaged with the arts on site or inperson, whether through attendance at arts
events or participation in arts learning or other
types of activities that involved people directly
interacting with artists or the arts. If the data do
not allow for differentiation between
children/youth and adult attendees, please
leave the Adults and Children/Youth categories
blank and only enter the total number of
attendees in the Total category.
Avoid double-counting individuals who attended
events/programs more than once during the
grant period.

a. Adults
(18+ years)

b. Children/Youth
(0-17 years)

c. Total

[The following two questions appear if the awardee selects “virtual only” for their project]

Number

3. "Virtual Only" Arts Experience
Please enter the total number of people who
attended the virtual arts experiences. If the data
do not allow for differentiation between
children/youth and adult attendees, please
leave the Adults and Children/Youth categories
blank and only enter the total number of
attendees in the Total category.
Avoid double-counting individuals who attended
events/programs more than once during the
grant period.
Views of online content should be counted at
the time of preparing this Final Descriptive
Report form.

a. Adults
(18+ years)
b. Children/Youth
(0-17 years)

c. Total

4. Did your virtual arts experiences include synchronous activities or asynchronous activities, or did your virtual component
include both methods of engagement? (Select one)
□
□
□

Synchronous. Refers to live activities streamed online, or real-time interactions by phone or video.
Asynchronous. Refers to activities that are either prerecorded or produced and then distributed online
Both Synchronous and Asynchronous.

[The following two questions appear if the awardee selects “Both in-person and virtual” for their project.]
Number

3. Both In-Person and Virtual Arts Experience
Please enter the total number of people who
attended the in-person component of your
programming. If the data do not allow for
differentiation between children/youth and
adult attendees, please leave the adult and
children/youth categories blank and only enter
the total number of attendees in the Total
category.
Avoid double-counting individuals who attended
events/programs more than once during the
grant period.
Please enter the total number of people who
attended the virtual component of your
programming. If the data do not allow for
differentiation between children/youth and
adult attendees, please leave the Adults and
Children/Youth categories blank and only enter
the total number of attendees in the Total
category.
Avoid double-counting individuals who attended
events/programs more than once during the
grant period.
Views of online content should be counted at
the time of preparing this Final Descriptive
Report form.

a. Adults
(18+ years)
b. Children/Youth
(0-17 years)

c. Total

c. Adults
(18+ years)
d. Children/Youth
(0-17 years)

e. Total

4. Did your virtual arts experiences include synchronous activities or asynchronous activities, or did your virtual component
include both methods of engagement? (Select one)
□
□
□

Synchronous. Refers to live activities streamed online, or real-time interactions by phone or video.
Asynchronous. Refers to activities that are either prerecorded or produced and then distributed online.
Both Synchronous and Asynchronous.

5. Regardless of whether your project included in-person, virtual, or a combination of both in-person and virtual experiences,
please describe how you collected data on attendee counts. [750 characters]

PART IIB: POPULATION DESCRIPTORS
For the next section, please select all racial/ethnic groups of people that your project intended to serve directly. Then answer the
follow-up question.
Questions in this section are for research purposes only; your response will not be used in panel deliberations or in making
funding decisions related to grant awards you may apply for in the future.
1.

Racial/Ethnic Groups
No Specific Racial/Ethnic Group
American Indian or Alaska Native
Asian
Black or African American
Hispanic or Latino
Native Hawaiian or other Pacific Islander
White

1a. If your project focused on serving one or more specific racial/ethnic groups, then did it succeed in this objective?
Yes

No

1b. Please describe, as needed (Optional). [750 characters]
For the next section, please select all age groups that your project intended to serve directly. Then answer the follow-up
question.
Questions in this section are for research purposes only; your response will not be used in panel deliberations or in making
funding decisions related to grant awards you may apply for in the future.

2.

Age Groups
No Specific Age Group
Children/Youth (0-17 years)
Young Adults (18-24 years)
Adults (25-64 years)
Older Adults (65+ years)

2a. If your project focused on serving one or more specific age groups, then did it succeed in this objective?

Yes

No

2b. Please describe, as needed (Optional). [750 characters]
3. Did your project intend to benefit underserved groups/communities? "Underserved groups/communities,” in this context,
include populations whose opportunities to benefit from arts programming has been limited by factors such as their geography,
economics, race or ethnicity, or disability. (Y/N)
Yes

No

[the table and the 3 follow-up questions appear if the awardee selects yes in the previous question]
3a. Underserved Groups/Communities
When thinking about the underserved groups/communities your project intended to serve, please select the factors
that limit their opportunities to benefit from arts programming. Check all that apply.
Geography
Economic status
Race or ethnicity
Disability
Other limiting factor/s. Please describe: [Text box 100 characters]

3b. Did your project succeed in serving one or more underserved groups/communities?
Yes

No

3c. Please describe the underserved groups/communities your project served and how their opportunities to benefit from arts
programming have been limited by the factors you selected above. [1,000 characters]
3d. Please describe the strategies you used to engage these underserved group/communities, any challenges you faced, and
whether or how the challenges were surmounted. [2,000 characters]