“Phosphorescence” Poetry Reading Series

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Article Photo | The Emily Dickinson Museum | Eleanor Glewwe

The Emily Dickinson Museum is now accepting proposals for our “Phosphorescence” Poetry Reading Series, A VIRTUAL EVENT held monthly throughout 2021! 

“PHOSPHORESCENCE. Now there’s a word to lift your hat to… to find that phosphorescence, that light within, that’s the genius behind poetry.” – Emily Dickinson

Produced by the Emily Dickinson Museum, the aim of “Phosphorescence” is to celebrate contemporary creativity that echoes Dickinson’s revolutionary poetic voices. The Series features and serves established and emerging poets and their readers who represent the diversity of the flourishing contemporary American poetry scene, and fosters community by placing poetry in the public sphere. The 2021 Series will be a virtual event to ensure the health and safety of participants. While we are disappointed not to gather together in Amherst, we are excited to connect with a wider community of friends and writers. During this time, we call on you to help us carry on Dickinson’s legacy of creating community and sparking the imagination as we shelter in place.

Featured poets are promoted on the Museum’s event web page, through an event mailing list of roughly 15,000 addresses, and through the Museum’s social media. Each participating poet receives a $200 honorarium.

READINGS:
This program occurs at 6:30PM EST on the last Thursday of each month. Each reading may feature 1-4 poets. Readings are 15-25 minutes long on average per reader, though this may depend on other program components each month. Poets who submit alone may be paired with other poets if selected. Published authors are welcome to promote sales of their books on the evening of the program. Poets should be prepared to engage in facilitated conversation and/or a Q&A after their readings.

Emily Dickinson Stamp National Postal MuseumSUBMISSION GUIDELINES:
Only submissions made using our online form will be considered.
There is no fee to submit proposals.
Group submissions from up to 4 poets are accepted.

Special consideration will be given in selection to:
Submissions that engage young attendees and those new to poetry
Submissions that build community
Submissions that support/showcase BIPOC and/or LBGTQ voices
Submissions that highlight a connection to Dickinson’s life and legacy

SUBMISSIONS DUE: Wednesday, February 3, 2021, 12:00 pm EST.

To submit a proposal please click this link for our submission form.

TIMELINE
Accepted submissions will be notified by the end of February. Participating poets will be asked to sign a form of agreement confirming participation on assigned dates. Submissions may also be considered for the 2022 series.

 

 

 

a row of Dickinson's textbooks on a shelf

“A Mighty Room” Virtual Studio Session: Library, March 4, 12-1pm

the inside of the homestead library

The Homestead Library

Sweet hours have perished here;

This is a mighty room;

Within its precincts hopes have played, —

Now shadows in the tomb.  

-J1767 

Spend a “sweet hour” in Emily Dickinson’s creative space where she penned her startling poetry. Whether you are a writer, an artist, a composer, or a poet, you’ll find solace and inspiration for your artistic output in Emily Dickinson’s library. Let this quiet virtual experience jumpstart your next creative journey. 

What to expect: As one of a limited number of participants, you will need to find a quiet spot with a good internet connection from which to be immersed in a live feed from the library of Emily Dickinson’s Homestead. Plan to have your camera and audio on. In this room were gathered Dickinson’s favorite books, her “Kinsmen of the Shelves” that “carried her to lands away.” A facilitator in the room welcomes you and gently guides you through three inspirational writing prompts to help you explore this unique physical and psychic space and unleash your own creativity over the course of the hour. Focused on reflection and quietude, this program is not a writing workshop, but you will have the opportunity at the end for a short share-out with the group if you wish. 

Space is limited for this program.  Please request a space using our registration form.

This program is free to participate, but your donation helps the Museum to continue providing free programs! Participants will be invited to make an online donation after the program.

Questions? write edmprograms@emilydickinsonmuseum.org. 

Homestead piano and sheet music

Virtual Poetry Discussion Group, March 19 & 26

The Emily Dickinson Museum’s Poetry Discussion Group meets monthly, September through May, for lively conversation about Emily Dickinson’s poetry and letters.

Join us from 12pm to 1:30pm on Zoom for a discussion on March 19 or March 26. Space is limited. Please submit a registration request via this google form.

This program is free of charge, but we encourage those who are able to do so to make a donation after the program.

Topic: Yankee Doodle Variations: Emily Dickinson and Improvisation

The basic facts of Emily Dickinson’s known musical life have been well documented. She was said, at age 2 1/2, to enjoy playing “the moosic” on her aunt Lavinia’s piano. As a child, she took singing lessons, and later sang alongside other students at Mount Holyoke Female Seminary, where she also likely heard the Hutchinson Family Singers perform. In her twenties, she wrote of hearing the internationally famous soprano Jenny Lind, collected dozens of pieces of sheet music, and earned a reputation as a striking improviser at the piano. In fact, the Hutchinsons and Lind, among other performers Dickinson heard, were also widely recognized for their improvisations. 

Dickinson’s musical knowledge informed the writing of her poems. Judy Jo Small and other critics have noted that many poems follow familiar patterns of hymns, nursery rhymes, and ballads. Dickinson also wrote about music in letters and poems, demonstrating a nuanced grasp of musical principles. Finally, her poems’ formal qualities demonstrate the influence of improvisational performance practice. Those she kept for herself, in private, contain alternate words and markings, something like the annotated scores of a performing musician. Those she sent to friends and family were customized, often making use of these variants but seldom containing variants themselves. These function something like the extemporaneous piano performances for which she was known. 

To set the stage for this discussion, I will begin by presenting some foundational information about Dickinson’s musical life and interests, including how people of her time experienced and thought about improvisation and spontaneity more generally, both in music and in writing. Then we will discuss several poems – and perhaps a letter or two – that touch on music in social and natural settings. We will close by discussing a poem across several extant manuscripts, as an example of improvised poetic performance.

About the Facilitator
Gerard Holmes
completed a PhD in English Literature in 2020, at the University of Maryland, College Park, with a dissertation titled “‘Discretion in the Interval’: Emily Dickinson’s Musical Performances.” He has published in The Emily Dickinson JournalReception, and Women’s Studies, a special themed issue, “New Directions in Dickinson and Music,” which he also co-edited. He contributed a chapter to the forthcoming Oxford Handbook to Emily Dickinson.

Homestead in the snow

Major Restoration Project Launches

The Emily Dickinson Homestead embarks on the next phase of historic restoration. 
This project will restore more of the National Historic Landmark home of one of America’s greatest poets to its period of historic significance.

Homestead in the snow

(Amherst, MA, February 17, 2021) – The Emily Dickinson Museum is embarking on the most significant restoration project to date of the interior architectural features, finishes, and furnishings of the revered poet’s Homestead. The project will also address long-term stabilization with the introduction of new environmental regulating systems in both the Homestead, the historic birthplace and home of Emily Dickinson, and The Evergreens, the Italianate home of Emily’s brother Austin and beloved sister-in-law Susan Gilbert. This work is the first step in an ambitious long range vision that aims to establish the Museum as the premier center for the study and celebration of the life and work of Emily Dickinson.

The project launches at a time of renewed and growing interest in Emily Dickinson and the revolutionary poetic voice she honed from her home in Amherst. Hailed recently as the ‘Original Queen of Social Distancing’, Dickinson and her work have been particularly resonant this past year. New interpretations and citations include Apple TV+’s hit series Dickinson, the new Taylor Swift album Evermore, the intimate work of Nobel Prize winner Louise Glück, and the philanthropy of MacKenzie Scott. The Emily Dickinson Museum has also happily found itself at the center of this buzz, attracting thousands of individuals from nearly 70 countries to its Virtual Programs over the past 6 months alone.

Museum Executive Director Jane Wald says, “We’re of course thrilled with the recent wave of interest in Emily Dickinson, and particularly in the home so intimately connected to her work. The Museum is committed to providing visitors with an increasingly authentic experience of the homes and grounds inhabited by the Dickinson family, and this restoration will have a profound impact on that experience. It will not only triple the amount of restored space in the Homestead accessible to guests, but also add critical details to their understanding of Dickinson’s daily life, especially as we introduce exciting new programs and interpretive themes in the coming years as part of our long range plan.”

Wald indicated that the project is able to kick-off earlier than planned in part because of funding made available through the generosity of the late William McC. Vickery–a longtime board member and champion of the Museum–for just such ‘bricks and mortar’ projects, as well as the Board of Governors’ decision to take advantage of the Museum’s extended COVID-related closure. Construction will last through 2021. While closed for restoration, the Museum will continue to actively engage audiences around the world through its schedule of online programs (EmilyDickinsonMuseum.org/events-news).

The Restoration Plan
With funding from the Massachusetts Cultural Facilities Fund, the Emily Dickinson Museum retained Mesick Cohen Wilson Baker Architects to produce a Design Development Report for the original portion of the Homestead built by the poet’s grandfather in 1813. The Museum also retained historic decorative arts consultant Marylou Davis to research, recommend, and, in some cases, reproduce the finishes and decor of the nineteenth-century Homestead. With the completion of work described in these studies, the Homestead will be on its way to being fully restored to its period of mid-nineteenth century historical significance, as Emily Dickinson would have known it.
 
Previous restoration projects – Emily Dickinson’s bedroom, conservatory, family library, and heirloom orchard – have created for visitors dynamic and personal encounters with the poet’s world available nowhere else. This, in addition to the purchase of adjacent property on Triangle Street to house administrative staff, has begun to allow the Homestead to shed multiple functions and regain its authenticity as Emily Dickinson’s own home and creative space.
 
Hallways
Investigation of the hallways has yielded fragments of original period-specific wallpaper, which confirm that Emily Dickinson passed through corridors and open halls decorated in a colorful gothic stylized floral pattern. Paint analysis reveals the precise paint colors for the woodwork. Restoring their authentic nineteenth-century appearance on the first and second floors of the Homestead, will reinstate the largest canvasses portraying the atmosphere of the home.
 
Parlors
The restored parlors will recapture the essentials of the Dickinsons’ daily life and interests in music, needlework, reading, art, civic and business affairs, and entertaining. The rooms will be decorated, as reported by Emily Dickinson’s niece, in wallpaper “white with large figures” and a carpet woven with “a great basket of flowers, from which roses were spilling all over the floor to a border of more flowers at the edge.” They will be furnished with items acquired at the time of Edward and Emily Norcross Dickinson’s marriage in 1828, as well as those acquired to keep their home reasonably in step with fashion.
 
Northwest Chamber
The second-floor northwest chamber adjacent to Emily’s room, the space where her mother, Emily Norcross Dickinson, spent the last years of her life, will include the reproduction of wallpaper based on found fragments, removal of modern floorboards, furnishing with Dickinson family artifacts, among other details. The restored northwest chamber will illuminate nuanced family relationships and the significance of health and healthcare in Dickinson’s life.
 
Implementation of Environmental Regulating Systems
The Homestead and The Evergreens will be equipped with new heating and cooling systems that will provide the level of temperature and humidity control that historic house museums need to protect their collections. The new systems will replace aging and limited residential systems and will contribute to the Museum’s long-term preservation and stewardship goals. “With behind-the-scenes installation of mechanical systems taken care of,” said Wald, “we’ll be able to focus on the fascinating work of further restoration and educational programming.” 

Project Resources

For press-approved images, please visit: bit.ly/EDMRestorationPhotos
For additional images, please reach out to publicrelations@emilydickinsonmuseum.org
 
This project has been funded in part by the generous gift of the late William McC. Vickery (Amherst College ‘57) and in part by the National Endowment for the Humanities.
 
ABOUT THE EMILY DICKINSON MUSEUM
The Emily Dickinson Museum: The Homestead and The Evergreens is dedicated to sparking the imagination by amplifying Emily Dickinson’s revolutionary poetic voice from the place she called home.
 
Owned by the Trustees of Amherst College, the Emily Dickinson Museum is overseen by a separate Board of Governors and is responsible for raising its own operating and capital funding. 
 
The Emily Dickinson Museum is a member of Museums10, a collaboration of ten museums linked to the Five Colleges in the Pioneer Valley—Amherst, Hampshire, Mount Holyoke, and Smith Colleges, and the University of Massachusetts Amherst.
An image of Emily is collaged with music, text, a landscape of pine trees and gold edging to form wings behind her

My Emily Dickinson: A Story Collecting Project, 2020

An image of Emily is collaged with music, text, a landscape of pine trees and gold edging to form wings behind her

Art by Nuala O’Connor, inspired by poem F510, ‘Upholsterer of the Pines – is He –’

In honor of Emily Dickinson’s 190th birthday, the Museum is collecting your stories! This project seeks to document the many Emily Dickinsons that exist in the hearts of contemporary readers. So many of us feel a deep connection to Dickinson’s life, her poetry, or to both. For some, we read her work as young students in school and become curious about the woman who lowered gingerbread from her window; others of do not find Dickinson until we are older and her poetry’s themes of loss and hope begin to resonate profoundly; still others find that Dickinson’s wit and fierce individuality is a touchstone. Whoever Emily Dickinson is to you, we want to hear about it! A handful of participant video’s will be selected for screening during the virtual Dickinson Birthday Celebration on December 10th. All submissions that follow the project instructions will be included in the project gallery webpage and on view to the public at EmilyDickinsonMuseum.org. 

Story collecting will continue until December 31, 2020, but only stories submitted by December 3 will be considered for inclusion in the Museum’s birthday celebration.

 

Instructions for submissions:

  • Participants should choose one prompt to respond to from the list below. Make a digital recording of yourself responding to that prompt and telling the story of your Emily Dickinson. Recordings must not exceed 3-minutes in length. Recordings may be video or audio only, but preference will be given to video stories for sharing during the Birthday Celebration.
  • Please begin your recording my saying “My name is [FIRST NAME] and I am coming to you from [CITY, STATE, AND/OR COUNTRY]….”
  • Prompts: (Please choose one) 
    • I first met Emily Dickinson when…
    • I had a weird Emily Dickinson encounter…
    • I associate Emily Dickinson with…
    • To me, Emily Dickinson is…
  • By submitting this file, you grant the Emily Dickinson Museum permission to share this video publicly. 
  • Save your file with your name in the title.
    • Video files should be in one of the following preferred formats: MOV, MP4, WMV, FLV
    • Audio-only recordings may be sent in any preferred digital format
  • Visit our collecting drive to upload your file safely and securely. CLICK HERE TO UPLOAD.
Text from poem fr660: "I Took my Power in my Hand - And went against The World -"

Statement in Solidarity with Black Lives Matter

Text from poem fr660: "I Took my Power in my Hand - And went against The World -"

 

This statement was originally released on June 3rd 2020:

Today, in our distress over recent devastating events, we stand with our community and with the Black Lives Matter movement against racial injustice and inequality. We recognize that real change is necessary both in our country and in our museum.⁣

We believe that museums are not neutral: they should be part of public conversations on contemporary issues such as racism, injustice, and oppression. Museums have long been institutions that hold and reflect cultural values and collective memory. Now, they have an even greater responsibility to be active participants in challenging age-old and contemporary systems of oppression. ⁣

Like other museums, the Emily Dickinson Museum has a duty to examine the history it teaches and to expand the stories it tells. Emily Dickinson lived through a catastrophic Civil War rooted in racial injustice and oppression. Her family was part of a society that benefited from the labor of immigrants, African Americans, and Native Americans in service to a privileged White majority. The poet’s literary work was made possible by the labor of these domestic servants. The Emily Dickinson Museum strives to tell this full story. Our new interpretive plan will place greater emphasis on the perspectives of Irish, Native American, and free Black workers in the Dickinson households, making plain issues of race and class in Dickinson family daily life. ⁣

At the Emily Dickinson Museum we recognize that this interpretive work is but one step in the greater effort to increase diversity, equity, inclusion, and access for audiences, staff, and leadership in institutions like ours. Dickinson’s revolutionary poetic voice became an agent of change, both in the literary canon and in the lives of individuals who find depths of meaning in her account of our human condition. As an institution, we are committed to the continuous work of change that museums can and should be doing to build an equitable society.

vickery

Exciting News of an Extraordinary Gift

THE EMILY DICKINSON MUSEUM RECEIVES A $22 MILLION GIFT AS PART OF A $25 MILLION BEQUEST TO AMHERST COLLEGE FROM THE LATE WILLIAM MCC. VICKERY ‘57

The Endowed Gift, the Largest Ever Received by the Museum, is to be Used for the Maintenance and Improvement of Its Buildings, Grounds and Collections

The Remainder Will Fund the Maintenance of Pianos for the College’s Music Department

(AMHERST, Mass., June 5, 2019) — Amherst College today announced a gift of approximately $25 million from the late William McC. Vickery ’57 to the College’s endowment, approximately $22 million of which is designated for use by the Emily Dickinson Museum in Amherst, Mass. The transformative gift, the largest ever received by the museum, will be known as the “William McCall Vickery ’57 Emily Dickinson Fund” and is specifically earmarked for the maintenance and improvement of its buildings, grounds and collections. Vickery, who was a devoted Amherst alumnus, volunteer, employee and supporter, also was a founding member of the Dickinson Museum’s board of governors.

The Emily Dickinson Museum was founded in 2003 when the neighboring house, The Evergreens, a 19th-century Dickinson home, was transferred to the College. (The Dickinson Homestead has been owned by the College since 1965.). Today, the Museum includes those two historic structures, three acres of the original Dickinson landscape, and more than 7,000 objects. The Museum, a part of Amherst College, earns and raises independently the majority of its own resources.

Of Vickery’s gift, Amherst College President Biddy Martin said, “There was no aspect of Amherst’s mission that did not interest him, no area of the College that did not benefit from his energetic, wry, and deeply insightful engagement. His gift to the Emily Dickinson Museum is a gift to us all and to generations to come, as is his gift to the College’s Department of Music. Bill understood and he helped ensure that the poetry and music that were special to him will remain at the heart of Amherst.”

A pivotal figure in the Museum’s advancement over the last 16 years, “Bill Vickery truly cherished the Emily Dickinson Museum,” said Executive Director Jane Wald. “He was acutely aware of the importance—and possibility—of restoring Emily Dickinson’s Homestead, her brother’s house, The Evergreens, and the historic gardens and grounds. He was at the lead in every undertaking for the Museum’s improvement, and his quiet enthusiasm was infectious and never deterred. His transformative gift will enable the Museum to become the true center of celebration of Emily Dickinson’s life and work.”

Part of the Vickery’s gift will be used to create the “William McCall Vickery ’57 Piano Fund” to fund the restoring, rebuilding, repairing and purchasing of pianos for the College’s music department. A patron of the music program at Amherst, in 2007, in honor of his 50th reunion, Vickery endowed The William McCall Vickery 1957 Professorship, honoring a senior faculty member who is distinguished by and dedicated to teaching and research of art history or musicology.

John Beeson ‘71, chair of the Board of Governors, said, “Bill’s extraordinary legacy gift will inspire others to support a wide range of projects related both to historic preservation and to the continued expansion of key programs about Emily Dickinson’s life and significance. It will require that continued support to help realize the full potential of Bill Vickery’s vision.”

Born in Savannah, Ga., Vickery attended Ridgewood High School in New Jersey. At Amherst College, he majored in economics and graduated cum laude. After earning an MBA from Harvard Business School, he launched a 27-year career in advertising with Dancer Fitzgerald Sample in New York City. In 1987, Vickery retired as vice chair of the company’s board and chair of DFS International. The year following his retirement, Vickery began his “second career” at his alma mater, holding positions in Advancement and as assistant treasurer until his retirement in 2008. Throughout his life, Vickery contributed generously to more than 26 individual funds at Amherst College, including the Russian Culture Fund, the Robert Frost Statue Fund, the squash courts renovation fund, the Orchestra Fund, the women’s basketball program, and the Choral Society, and he endowed the William McCall Vickery 1957 Professor of the History of Art.

Throughout the years, Vickery’s philanthropy set an example and inspired others to support the Emily Dickinson Museum. He served on its collections and physical plant committee and development committee and was a generous supporter of the Museum’s operations and restoration projects, including the campaign to restore Emily Dickinson’s bedroom in 2014, which Vickery led and championed.

“My husband, Hubbard, and I shared a wonderful friendship with Bill for most of our lives,” said Linda Smith, a member of the Museum’s Board of Governors. “He led us and many others into supporting the Emily Dickinson Museum in so many ways. He believed in the truth and enduring nature of Dickinson’s poetry, and he demonstrated his commitment to the Museum’s future over and over again by his extraordinary generosity.” 

Since its inception, the Museum has welcomed more than 150,000 visitors from 50 countries and serves as the premier center for study, interpretation, and celebration of Emily Dickinson’s place in literature, history, and culture. This generous gift will support the Museum in furthering its mission to spark the imagination by amplifying Dickinson’s revolutionary poetic voice from the place she called home. The Museum is open Wednesday through Sunday, 11 a.m. to 4 p.m. Learn more at www.EmilyDickinsonMuseum.org.

Amherst College prepares students to use ideas to make a difference in the world. Since its founding, in 1821, in Western Massachusetts, Amherst has demonstrated steadfast confidence in the value of the liberal arts and the importance of critical thinking. Today, its financial aid program is among the most substantial in the nation, and its student body is among the most diverse. Small classes, an open curriculum and a singular focus on undergraduate education ensure that leading scholars engage daily with talented, curious students, equipping them for leadership in an increasingly global and complex world. The College will celebrate its bicentennial in 2021.

cupola

Exciting News About Our Recent Grants

THE EMILY DICKINSON MUSEUM RECEIVES OVER $350,000 IN GRANTS FOR INTERPRETIVE PLANNING, OPERATING SUPPORT, AND RESTORATION

The grants will be used to improve and increase access to Emily Dickinson’s poetic and personal legacy in the place she called home.

cupola(AMHERST, Mass., August 28, 2019) – Today the Emily Dickinson Museum announced that it will receive over $350,000 in grants for interpretive planning, operational support, and restoration. The grants include a Public Humanities Planning grant of $63,025 from the National Endowment for the Humanities (NEH). The NEH award will support a year of interpretive planning to unite the Museum’s historic spaces and collections to better serve its growing contemporary audience. Public Humanities Planning grants from the NEH are typically awarded for up to $40,000 per grantee, but larger sums are granted to exceptionally ambitious and complex proposals like the Museum’s.

Program Director Brooke Steinhauser says the grants will allow the Museum to “incorporate current scholarship and more inclusive methodologies of interpretation” into its already vibrant programming. As the site of the largest and most varied collection of non-manuscript objects associated with Emily Dickinson and her family, and as the site where Dickinson penned nearly all of her 1,789 poems, the grants will help the Museum to consider how to provide interpretation of and access to its resources, resulting in the best possible visitor experience.

The Emily Dickinson Museum is one of 16 humanities projects this cycle to receive a grant from the NEH for planning or implementation, all of which will support vital research, education, preservation, and public programs in the humanities. The National Endowment for the Humanities preserves America’s rich history and cultural heritage, by encouraging and supporting scholarship and innovation in history, archaeology, philosophy, literature, and other humanities disciplines. In addition to the work at the Emily Dickinson Museum, this round of grants will enable continued work on the papers of presidents George Washington, Thomas Jefferson, and Abraham Lincoln, as well as publication of the complete speeches, correspondence, and writings of Martin Luther King Jr. and Eleanor Roosevelt, and a new scholarly edition and translation of the Dead Sea Scrolls.

In addition to the NEH grant, the Museum will receive $245,673 from the Institute of Museum and Library Services, $30,000 from the Massachusetts Cultural Facilities Fund, and $12,200 from the Massachusetts Culture Council’s Cultural Investment Portfolio. The IMLS grant will be used to catalog, manage, and maintain its 8,000+ piece collection. The planning grant from the Facilities Fund will be used to plan the restoration of the hallways, parlors, and bedrooms in the Museum, tripling the amount of restored interpretive space in the Homestead. The grant from the Cultural Investment Portfolio will support operations at the Museum. Executive Director Jane Wald says the grants will help to transform the Museum’s interpretation by “preparing to restore this private poet’s public spaces to their appearance during her most important writing years.”

Since its inception, the Emily Dickinson Museum has welcomed more than 150,000 visitors from 50 countries and serves as the premier center for study, interpretation, and celebration of Emily Dickinson’s place in literature, history, and culture. These awards will support the Museum’s mission to spark the imagination by amplifying Dickinson’s revolutionary poetic voice from the place she called home. The Museum is open Wednesday through Sunday, 11 a.m. to 4 p.m. Learn more at www.EmilyDickinsonMuseum.org.

Created in 1965 as an independent federal agency, the National Endowment for the Humanities supports research and learning in history, literature, philosophy, and other areas of the humanities by funding selected, peer-reviewed proposals from around the nation. 

The Institute of Museum and Library Services is the primary source of federal support for the nation’s libraries and museums. They advance, support, and empower America’s museums, libraries, and related organizations through grant making, research, and policy development. Their vision is a nation where museums and libraries work together to transform the lives of individuals and communities. To learn more, visit www.imls.gov.

Managed in collaboration with MassDevelopment, the Cultural Facilities Fund provides major improvement grants to nonprofit cultural organizations, in recognition of their profound economic impact on communities across Massachusetts. Since 2006, the Fund has encouraged sound growth, supported important development projects, played a crucial role in the growth of local tourism, created thousands of jobs, and driven millions of dollars in private investment.

The Cultural Investment Portfolio provides both general operation and project-based grants to nonprofit organizations that enrich Massachusetts’ cultural life. The Portfolio works to strengthen a cultural sector that generates $1.2 billion in economic activity, creates thousands of jobs, and delivers programs to more than 20 million people a year. Not just a funder, the Portfolio is a source of invaluable expertise, advocacy, and peer dialogue.