The eighth competition, which was scheduled to open May 1, has been pushed back, and applications will be accepted starting November 2, 2020, with a deadline of January 29, 2021. Significant changes to the program’s guidelines are not expected, so applicants may choose to use the Cycle 7 guidelines and template to begin drafting proposals. Updated materials will be posted to this page in advance of the next call for applications.
Proposal Planning Resources
- Collaborative Application Guidelines and Template (Google Doc – View Only): Make your own copy of this document (Google account required) to start collaboratively drafting your proposal. If you use the template, you will need to copy your final answer from each question into the official application form and submit your completed proposal by the application deadline in order to be considered for a Recordings at Risk grant.
- Applicant Webinars: At the start of each application cycle, CLIR schedules an informational webinar for Recordings at Risk applicants, then posts the recording and associated documentation here:
- Digitizing Special Formats wiki: This is a list of external resources that can help applicants plan projects involving the digitization of rare and unique materials, hosted by the Digital Library Federation (DLF).
- Strategies for Audiovisual Digitization Projects: This two-part webinar series recorded in 2017 discusses multiple approaches that cultural memory institutions can take to digitally reformat audiovisual materials and collections.
- Digitizing Hidden Collections Toolkit video series: These videos feature current and past staff and reviewers working on CLIR’s Digitizing Hidden Collections program, but many of the issues and resources highlighted in the series are pertinent for Recordings at Risk applicants.
Key Guides, Policies, and References
- CLIR’s Indirect Cost Policy
- Questions CLIR Asks Reviewers When They Assess Proposals
- DRAFT Technical Recommendations for CLIR’s Recordings at Risk Program – This draft document based on reviewer feedback is currently accepting comments.
- Guidelines for Authors of Letters of Support for Digitizing Hidden Collections and Recordings at Risk Applications
- General Guidelines for Grants Involving Consultants or Subcontractors
- CC0 Creative Commons license
Claiming Place: Preserving the history of Puerto Rican and Latino Culture and Politics in Western Massachusetts through the digitization of the Vecinos/Neighbors and La Familia Hispana – Holyoke Public Library Corporation (Cycle 5 – Spring 2019)
- Digitizing a Century of Native Voice and Song at the Autry Museum – Autry Museum of the American West (Cycle 4 – Fall 2018)
- Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 – University of California – Berkeley Art Museum & Pacific Film Archive (BAMPFA) (Cycle 4 – Fall 2018)
- Preserving the Black Panther Party and Social Protest Films from the Henry J. Williams Jr. Film Collection – African American Museum & Library at Oakland (Cycle 3 – Spring 2018)
- Preserving Native Voices from the Airwaves: Digitizing the Indians for Indians Hour Radio Program Recordings, 1942-1976 – University of Oklahoma (Cycle 3 – Spring 2018)
- Hudson River Festivals – Wesleyan University (Cycle 3 – Spring 2018)
- Learning from Legends: Reflections on the 1960s Collection – Binghamton University (Cycle 2 – Fall 2017)
- Sounds of mid-20thc Irish-America: preserving historic music field recordings for research access – Boston College (Cycle 2 – Fall 2017)
- Preserving the History of World War II’s Elite Ski Troopers, the 10th Mountain Division – Denver Public Library (Cycle 2 – Fall 2017)
- Debating the Vietnam War: Film and Audio Recordings from the 1960s and 1970s – Swarthmore College Peace Collection (Cycle 2 – Fall 2017)
- W. W. Law Collection Audio Recordings Preservation – City of Savannah, Georgia, Research Library and Municipal Archives (Cycle 1 – Spring 2017)
- Preserving the Interview Recordings of Mel Gussow, American and British Theater Critic – Harry Ransom Center, The University of Texas at Austin (Cycle 1 – Spring 2017)
- Reformatting the Tommi Avicolli Mecca cassette tapes on LGBTQ history – William Way LGBT Community Center (Cycle 1 – Spring 2017)
Frequently Asked Questions
For questions that are not answered below or in the application guidelines, contact CLIR’s Grants Team at email@example.com. During the application period, CLIR accepts inquiries by e-mail only; no phone calls, please.
Can grant funds be used to increase subscription plans in order to ingest the migrated digital content into a cloud-based preservation system?
I need to place XYZ access limitations on the digitized recordings. Does this hurt my chances for receiving a grant?
Do I need to pick between applying for Digitizing Hidden Special Collections and Archives and Recordings at Risk?
- Project Plan with timeline: Maximum of 2 pages
- Digital Preservation Plan: Maximum of 2 pages
Submitted documents that exceed the above page limits will be truncated by program staff before proposals are read by reviewers. For example, if a four-page document is submitted for the Project Plan (limit 2 pages), reviewers will only receive the first 2 pages of the submitted plan along with a note explaining that the plan exceeded the page limit.
- Audio: open-reel audio tape, compact cassette, shellac/vinyl/lacquer disc, wax cylinder, wire recording, microcassette, digital audio tape (DAT), compact disc, MiniDisc
- Video: VHS, U-Matic, 8mm, Betamax, Betacam, Digital8, DV, MiniDV
- Film: 8mm, 16mm, 35mm, Super 8
Note that applicant institutions must be able to find a qualified external service provider that can perform technically competent and cost-effective digital reformatting for the specified format(s). Applicants are encouraged to contact CLIR’s grants team with questions related to the eligibility of formats not listed above.