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"PUSH FOR OPPORTUNITIES" OUR MISSION: To provide performance opportunities and scholarships that encourage freedom of expression and promotes the therapeutic benefits of dance.

The Inkwell Theater is a writer’s theater company, dedicated to developing, supporting, and cultivating new plays and playwrights in the Los Angeles community. Focused exclusively on new works, we allow young artists and veterans alike to work in an environment of experimentation, freedom, and collaboration.

Through musical expression, the San Diego Women’s Chorus encourages women’s creativity, celebrates diversity, and inspires social action. The San Diego Women’s Chorus is a non-profit community chorus that strives to entertain and inspire audiences with music that speaks to issues as diverse as human rights, love, world peace, religious freedom, environmental harmony, inclusion and cultural diversity. SDWC supports and affirms the music of women, LGBTQ+, and BIPOC composers and arrangers.

At Hungry for Music, our mission is putting quality musical instruments into hungry hands. We serve children who demonstrate a desire to learn music, as well as teachers who have students willing to learn. In 23 years, we've delivered 10,000 instruments to children in 48 states and 20 countries. We believe that by sharing instruments and musical experiences, children who would not otherwise have the opportunity can experience a kind of freedom and self-discovery that is often stifled in an atmosphere of economic hardship.

To provide dynamic leadership for implementing what we see as universal values founded on fundamental Islamic values by contributing to the alleviation of poverty and securing better socio-economic life for the disadvantaged groups through empowering them to depend on themselves and participate in the decisions concerning their own problems. These values are echoed in the Universal Declaration of Human Rights and other United Nations human rights instruments. The freedoms and responsibilities inherent in them lead directly to tolerance, pluralism, gender equality, public dialogue and non-violence to settle disputes, respect for all people regardless of differing characteristics – all part of what we call “Canadian values”.

Founded in 2016, Sound Aloud exists to equip this generation with the tools to find their voice (identity), release their sound (purpose), and live it ALOUD (unashamed); becoming the sound of freedom to this world. Our heart as a ministry is to use the Creative Arts (fine, performing, visual), holistic health, and mentoring/outreach programs to unleash the treasure that is buried just beneath the surface of our “generationals”. We do this to spark the creative, and vivid imaginations that need motivation and training - the type of training that prepares them to become confident young men and women, and the hope of our future. Our programs and services create positive outlets, give support, nurture dreams, send a message of hope, deal with issues that this generation face, bring cultural awareness, cross religious and cultural boundaries, provide discipleship, help build confidence, build strong self-esteem, character, and create teamwork and connection.

The mission of Jazz at Lincoln Center is to entertain, enrich and expand a global community for Jazz through performance, education and advocacy. We believe Jazz is a metaphor for Democracy. Because jazz is improvisational, it celebrates personal freedom and encourages individual expression. Because jazz is swinging, it dedicates that freedom to finding and maintaining common ground with others. Because jazz is rooted in the blues, it inspires us to face adversity with persistent optimism.From our first downbeat as a summer concert series at Lincoln Center in 1987, to the fully orchestrated achievement of opening the world's first venue designed specifically for jazz in 2004, we have celebrated this music and these landmarks with an ever-growing audience of jazz fans from around the world.Representing the totality of jazz music, Jazz at Lincoln Center's mission is carried out through four elements—educational, curatorial, archival, and ceremonial—capturing, in unparalleled scope, the full spectrum of the jazz experience.In the mid-1980s, Lincoln Center, Inc. was looking to expand its programming efforts to attract new and younger audiences, and to fill its halls during the summer months when resident companies were performing elsewhere. Long-time jazz enthusiasts on the Lincoln Center campus and on the Lincoln Center Board recognized the need for America's music to be represented, and lobbied to include jazz in the organization's offerings. After four summers of successful Classical Jazz concerts, Jazz at Lincoln Center (JALC) became an official department of Lincoln Center in 1991. During its first year, JALC produced concerts throughout New York City, including Brooklyn and Harlem. By the second year, JALC had its own radio series on National Public Radio, and the Lincoln Center Jazz Orchestra (now known as the Jazz at Lincoln Center Orchestra) began touring, and recording and selling CDs. By its fourth year, the program reached international audiences with performances in Hong Kong and, the following year, in France, Austria, Italy, Turkey, Norway, Spain, England, Germany and Finland. In July 1996, JALC was inducted as the first new constituent of Lincoln Center since The School of American Ballet joined in 1987, laying the groundwork for the building of a performance facility designed specifically for the sound, function and feeling of jazz.“The whole space is dedicated to the feeling of swing, which is a feeling of extreme coordination," explained Jazz at Lincoln Center's Managing and Artistic Director Wynton Marsalis of his vision for the new home of jazz, or the “House of Swing." “Everything is integrated: the relationship between one space and another, the relationship between the audience and the musicians, is one fluid motion, because that's how our music is." Under Marsalis's direction, JALC sought out world-renowned architect Rafael Viñoly and a team of acoustic engineers to create Frederick P. Rose Hall, the world's first performance, education and broadcast facility devoted to jazz, in New York City. As the centerpiece of a $131 million capital campaign drive, the 100,000-square-foot facility opened in fall 2004 and features three concert and performance spaces (Rose Theater, The Appel Room and Dizzy's Club Coca-Cola) engineered for the warmth and clarity of the sound of jazz.

The Black Rock Coalition was founded in 1985 by guitarist Vernon Reid, journalist Greg Tate and producer Konda Mason in reaction to the constrictions that the commercial music industry places on Black artists. A collective of artists, writers, producers, publicists, activists and music fans assembled to maximize exposure and provide resources for Black artists who defy convention. To date, the BRC is the only national nonprofit organization dedicated to the complete creative freedom of Black artists.