The New Orleans Community Printshop was founded in 2009 by a dedicated group of print makers seeking to create an affordable and accessible printmaking space for artists and community members alike.  This was both a dream and a necessity — we were motivated both by our collective desire to develop and support a thriving printmaking community and by our real need for equipment to continue to make new work.  Printmaking equipment is bulky and expensive, and many of the chemicals needed require special care and disposal.  At the time, the only printmaking facilities around town were in universities or private print shops. There wasn’t anywhere in New Orleans that served the wider community, so we built one!

Three years in the making, the Community Printshop is the only art space of its kind in New Orleans.  We are a silkscreen shop, black and white darkroom, and community gallery, all in one and are entirely run by a core of committed volunteers.  We host Drop-In-Nights three times a week, where anyone in the community can use our facilities. Through Drop-In-Nights we serve a diverse community of local artists, youth, community members and entrepreneurs. We help Drop-In-Night visitors of all skill levels to explore print media, to plan and develop artistic projects, and to build their printmaking and photography skills, as well as providing access to our discounted printmaking equipment and supplies.

The Community Printshop is not only an invaluable resource for the broader community, it is also a vital resource for the core group of volunteers who keep it running.  We, the volunteers who organize and staff the print shop, have 24-hour access to the shop’s equipment and resources.  We use this time to make new work and continue our printmaking practice.

What else happens at the print shop? Besides teaching people how to print, we want to showcase the variety, chaos, talent and sheer energy of the printing community in New Orleans. We curate shows in our gallery space, sometimes with over 50 participating artists represented, have parties and fundraisers and curate print shows in other venues. We also sell the work being made by our members, splitting the profit between the artists and the print shop. This revenue helps keep our programming affordable and helps support working artists.

Another important part of our programming is our outreach program. Members of the Community Printshop have run and continue to run in-school and after-school educational printmaking projects and programs in many New Orleans public schools.  These programs have ranged from one-time student T-shirt printing workshops, to a two-year intensive screen printing program for gifted art high school students. Printshop members have run entrepreneurial screen-printing workshops, free women’s workshops, and workshops in partnership with local universities. We are always looking for new ways to expand our programmatic reach and actively serve different communities in New Orleans.

If you are in the area, come and check us out during our open hours. All are welcome, no experience required just be prepared to get a little ink on your clothes.

The New Orleans Community Printshop is located at 831 Elysian Fields Avenue, New Orleans, LA 70117 (between Dauphine and Burgundy streets).  Contact the New Orleans Community Print Shop at communityprintshop@gmail.com for information regarding its programing, events and artists.

The South Arts internship program provides learning opportunities and on-the-job experience to college juniors/seniors, graduate students, and recent college graduates with a professional interest in arts administration. During the summer South Arts also selects a Performing Arts Exchange Intern that works exclusively with the Performing Arts Exchange Director on the upcoming conference. All South Arts Internships are paid.

 Qualifications

Undergraduate junior/senior, graduate student, or recent college graduate (within one year) with:

• Experience or demonstrated interest in the arts and/or arts administration
• Excellent verbal and written communication skills
• Strong organizational skills and the ability to work independently as well as in a team environment
• Ability to establish priorities and manage numerous assignments simultaneously
• Knowledge of Microsoft Office (particularly Word and Excel) and experience conducting Internet-based research are required
• Knowledge of any of the following is desirable, but not required: Microsoft Outlook, Blackbaud/Kintera, Audacity, Facebook, YouTube, and/or Twitter
• Graphic design and/or video editing skills are a plus
• Experience in managing databases in Excel, Access, or any kind of registration system

How to Apply

Email the following to Bola Ogunlade, bola@southarts.org. Please include “Summer 2012 Internship” or “Performing Arts Exchange Internship 2012″ in the subject line of your email.

1. Cover letter discussing career goals, computer skills, and when you are available to start (Start and end dates are flexible provided that a full term is completed.)
2. Academic/professional résumé
3. Names and contact information for two academic and/or professional references

Application deadline is Monday, April 16, 2012.
For questions, please contact Bola Ogunlade at bola@southarts.org /404-201-7938, 1800 Peachtree Street, Suite 808, Atlanta, GA 30309

For additional information visit www.southarts.org

NTP Creation & Touring Grants: 

• support both the production and touring of innovative work.
• support projects developed using a range of methods, varying types of collaborations, and at diverse stages of development.

NTP is particularly interested in supporting work that reflects the evolving environment for theater, including but not limited to projects that:

• Expose audiences to devised theater work of outstanding quality and originality.
• Push the aesthetic boundaries and reflect the cultural and aesthetic diversity alive in theater today.
• Nurture long-term, productive, and multifaceted partnerships between project and development partners, leading to the highest quality possible in the production of the completed work.
• Have an understanding of touring devised work and strategies for creating a tour.
• Offer the potential for deeper community engagement.

Enhance the creation of a national network of presenters, producing theaters, and ensemble theaters with venues that will increase the potential for touring.

TIMELINE

• May 3, 2012: Preliminary Application deadline
• June 2012: Projects selected to submit final applications notified

September 2012: Selection and announcement of NTP projects

The application is now available! Click for details and to apply.

South Arts, a nonprofit regional arts organization based in Atlanta, GA, was founded in 1975 to build on the South’s unique heritage and enhance the public value of the arts. South Arts’ work responds to the arts environment and cultural trends with a regional perspective. The organization works in partnership with the nine state arts agencies of Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina and Tennessee, and is funded by those member states, the National Endowment for the Arts (NEA), foundations, corporations, and individuals.

The executive director is the principal relationship manager for all stakeholders. The successful candidate will be expected to represent South Arts to a broad range of constituents and the public. The executive director will lead the organization’s management team to ensure the strategic objectives are achieved in a financially sound manner. Travel comprises approximately 50% of the CEO’s time.

Ideal candidates for this position will possess an innate passion for the arts, exhibit political savvy and understanding of the complex landscape around public funding for the arts, and have direct management experience in a complementary arts or nonprofit organization. Highly qualified applicants will possess both undergraduate (required) and graduate (preferred) degrees and bring a variety of experiences and attributes to South Arts, the full description of which can be seen by clicking here.

Salary will be competitive and commensurate with qualifications and experience. To apply, send an email with a cover letter detailing your qualifications, vitae/resume, and salary requirements to SouthArts@TransitionGuides.com (email applications are required).

Other inquiries, contact Jeanie Duncan at TransitionGuides at 301.439.6635. Communications will be treated with confidence and resumes will be accepted until position is filled. South Arts is an Equal Opportunity Employer.

Complete information including position announcement, position profile, projected timeline, and updates can be found on the South Arts website.

If you/your company is interested and ready to tour regionally/nationally, PAE Juried Showcases are an excellent opportunity to be seen by a wide range of presenters. Artists/ensembles are selected based on artistic excellence and demonstrated readiness to tour. Juried Showcase applications are due by March 30, 2012. Please review the guidelines thoroughly before applying.

This new initiative, part of a larger special $50 million allocation to the arts, will award $1,500,000 in grants in early 2013.  Grant awards will be made at the $75,000 and $150,000 levels.  Guidelines and the accompanying FAQ include full explanations of the rationale for the program, the process for selection, and review criteria.  Interested applicants should note that the first deadline is June 1, 2012, when an intent to apply form must be submitted.  Preliminary proposal deadline falls on July 30, 2102, and final proposals (for those invited by a preliminary panel to submit full proposals) will be December 3, 2012.

Organizations and artists must prepare all application materials jointly.  Applications are open to organizations that present and/or produce artists in jazz, theatre and/or contemporary dance, and to service organizations with a history of programs, services and activities benefitting individual artists in those same fields.  Applicant artists can come from any field, as noted in the guidelines, although applicant artists and organizations must be able to demonstrate a prior history of working together.

These grants will be adjudicated through peer panel reviews and administered by the Doris Duke Charitable Foundation.

Questions about program intent or review process should be addressed to:
Ben Cameron, Program Director for the Arts: 212-974-7107 or BCameron@ddcf.org
Cheryl Ikemiya, Senior Program Officer: 212-974-7108 or CIkemiya@ddcf.org

Logistic questions about deadline dates, submission of electronic forms, and/or technological difficulties should be addressed to:
Lillian Osei-Boateng, Program Associate: 212-974-7109 or LOsei-Boateng@ddcf.org

Since 2010, NPN International Program has been building relationships with NPN/KAMS Exchange, a partnership with the Korea Arts Management Services (KAMS) and the Japan Connection, a partnership with the Japan Contemporary Dance Network (JCDN). Currently in their network-building phase, both partnerships follow the Performing Americas Program model of a systematic cultural exchange program based on reciprocity and knowledge building.

These projects are developing the context for this exchange by creating strong connections and opportunities for all partners involved to travel to each others’ countries to investigate local cultures, the arts, and cultural policies. To this end, every year, NPN International Program supports trips to its partners’ countries. Following the JCDN partners’ trip to the NPN Annual Meeting in Tampa in December 2011, the U.S. curators — Yolanda Cursach of MCA Chicago and F. John Herbert of Legion Arts, Cedar Rapids, Iowa; joined by Jordan Peimer, Director of Programming at Skirball Cultural Center, Los Angeles, MK Wegmann, NPN President and CEO, Renata Petroni, NPN International Program Director and Kyoko Yoshida, Executive Director of U.S./Japan Cultural Trade Network and consultant to the Japan Connection project — traveled to Yokohama from February 13 to 20 to attend T-PAM. They had multiple objectives: a work meeting with JCDN partners to discuss the next steps of the Japan Connection; participation in T-PAM sessions; seeing a wide range of performances; and a trip on February 16 organized by Norikazu Sato, Director of JCDN, to visit Sendai and Minami Sanriku, a fishing village in the Miyagi prefecture in the north of Japan.

Launched as “Tokyo Performing Arts Market” (T-PAM) in 1995 with the objective of promoting Japanese artists internationally, T-PAM changed its focus in 2005, becoming an international platform for information exchange, networking, mutual learning and discussion. In 2011, T-PAM moved to Yokohama, changed the name from “Market” to “Meeting” and became “Performing Arts Meeting in Yokohama,” while keeping the acronym “T-PAM” (www.tpam.or.jp). Yokohama was chosen for its proximity to Tokyo, economic advantages, manageability and because a great deal of capital has been invested in transforming this dormitory city into a cultural capital. The city’s officials and cultural institutions are an active partner of T-PAM together with the Japan Foundation.

This year’s sessions and discussions revolved around the profound social, economic and psychological effects that the March 11, 2011 earthquake, tsunami and accident at the Fukushima nuclear power plant have had on the Japanese population. Underlying fears about the future brought people to question their life choices and consider new perspectives. Artists and cultural workers, trying to cope with the senseless devastation and its unknown consequences, have been questioning their roles, philosophies and beliefs. T-PAM, through a series of workshops and discussions, provided them with a platform for reflection.

In addition to the T-PAM sessions and a very enlightening and productive meeting with our JCDN partners, the U.S. participants enjoyed the amazing program which included performances presented by theaters in Tokyo, special selections performed in various spaces throughout Yokohama and surroundings, as well as showcases selected for T-PAM by three young curators, Akane Nakamura, producer and founder of NPO Drifters International and SNAC; Yukako Ogura, Director of AI.Hall; and Katsuhiro Ohira, Director of ST Spot.

What impressed me most about our visit was just how different the work showcased in Yokohama was from what I have seen in other countries. There was an intangible quality—almost a self-consciousness—which appeared in a lot of the work. This was particularly prevalent in Yumi Osanai’s dance trio “Skybaum” seen at the Yokohama Dance Collection EX which mixed moments of scenographic beauty with singular quirky movement. Similarly, Yuuri Furuie’s “Japanese Room A,” also at Yokohama Dance Collection EX, mixed classical dance forms with costuming and design that brought to mind elements of anime. In contrast, Finnish choreographer Ervi Sirén showed “Kite” at Bank Art, a work-in-progress with local dancers; this collaborative work (another, almost opposite one is happening in Finland with a Japanese choreographer and Finnish dancers) allowed the movements of the Japanese bodies to be fore-grounded against the contemporary European formal structure.

Language is of course an issue in performance, but the best work always transcends that. Especially exciting was the Tokyo-based theatre company FAIFAI’s (Japanese for Fun-Fun!) “Anton, Neko, Kuri” performed at Nihehi Works — a multi-level performance space and café. (To see video <http://faifai.tv/english/news/anton.php>) In this work there were three simultaneous texts, a spoken one in Japanese, a movement score, and projected English translation which worked together in very different and exciting ways to portray a community in a housing block that comes together around a sick cat—improbable, but the most thoroughly charming work of the week. Idiot Savant’s “After the Feigned Atomic Party,” performed inside the sanctuary of a Buddhist temple, presented a formal exploration of how the Japanese utilize techniques of devised theater. It was particularly interesting to speak with the director afterwards and discover his intentions in this work that mixed imagery from the holocaust with those of Japan’s 3/11 earthquake, tsunami and nuclear disaster. — Jordan Peimer

The last objective was the trip to northern Japan. The decision to visit the areas hit by the 3/11 earthquake and tsunami came about during our meeting with JCDN last October when MK Wegmann and F. John Herbert shared their experiences of the recovery efforts following Katrina in New Orleans and the flood in Cedar Rapids. Norizaku Sato, director of JCDN, thought it useful for MK and John to meet with members of organizations like Artslink, which coordinates artists’ recovery efforts on the sites hit by the earthquake and tsunami, and the Mediathèque in Sendai, which has created a website where the victims of the disaster can record their experiences. On February 16, we set off for Sendai with a certain trepidation as we did not know what to expect. After a three-hour train ride we were picked up by a representative of Artslink who drove us to Minami Sanriku, a fishing village in the Miyagi prefecture. What we saw took our breath away. The entire town center had been washed away by the 50-foot waves, leaving a wasteland punctuated by a few building skeletons that still stand as a ghostly reminders of the disaster. We were told that of the 20,000 inhabitants, 5,000 died or disappeared and most of the others have relocated to neighboring towns. As the Town Hall was destroyed with all its records, Minami Sanriku’s inhabitants can no longer retrieve their identity documents while the mayor and other surviving town officials had to relocate to trailers parked on tennis courts up on the hills. City officials have worked hard at relocating people and organizing teams to clean the hundreds of tons of debris while appealing to the central government to lend a helping hand to rebuild the city and its fishing industry so that the population can return home.

In the meantime, to prevent the few residents who are still on-site from leaving the city, the local government and the contractor in charge of cleaning the debris have been hiring local people to help in this colossal task. The debris is sorted and collected into huge mountains but there is no place to put it. It’s a monumental challenge faced by communities along hundreds of miles of Japan’s battered northeastern coast. Town officials, who estimate it will cost about $27.4 million to remove the city’s debris, have plans to burn as much of it as possible and recycle what they can, but since Japan has little landfill space left, the rest may eventually be shipped overseas. Until the debris is disposed of, the towns cannot start re-building their communities and the people cannot move on with their lives.

With a heavy heart, we drove back to Sendai, a large town of a million inhabitants located 100 km from the coast. Although the city was badly hit by the earthquake and tsunami, suffered tremendous damages and lost a great number of its people, we saw a vibrant town which had resumed its activities, including a rich cultural life. We visited a small gallery whose owner is very active in supporting local artists and teaching art in local schools, and the Mediathèque which is providing studio space to artists who have lost their homes and work places, as well as providing space for exhibits that bring the community together and include space to talk and share their experiences.

Seeing the commitment and dedication of so many people in re-building their communities, while helping others get over their traumas, was inspiring, and in the words of our friend Jordan Peimer, “what we experienced in the north, both the destruction and the hope, will live with us always.”

You do not need to be a WAA member to apply!

Download the Application/Learn More: http://bit.ly/12WAAJuriedShowcaseAppFAQ
Download the Press Release: 2012 WAA Juried Showcase Application Press Release
Application Deadline: April 2, 2012
Application Fee: $65 | Showcase Fee: $635
Contact WAA: www.westarts.org | 503-274-4729

People across cultures share many similar feelings, emotions and life circumstances, but it’s the way they express these feelings and emotions and react to life circumstances or relate to each other that sets them apart. As we engage in international exchanges, we must learn to recognize and respect these differences, which are not limited to language, food, or dress code, but extend to etiquette, personal space, body language, humor, and values. How can we improve communication with our international partners when globalization and the speed of information give us the illusion of knowing more about other cultures than we actually do?  What’s more, generalizations, hearsay, stereotypes, expectations, projections of one’s culture onto another add to the confusion. NPN’s approach is that there is nothing more exciting and effective than personal experience.

To promote this first hand knowledge, NPN supports ongoing explorations by U.S. and international presenters’ through visits to one another’s countries. Over the last 10 years, through the Performing Americas Program, a partnership with La Red de Promotores Culturales de Latinoamerica y el Caribe, NPN has supported travels in the western hemisphere by 65 NPN Partners and La Red members. NPN is now developing a new program in Asia with two new partners: the Korea Arts Management Services (KAMS) and the Japan Contemporary Dance Network (JCDN).

Representatives of NPN’s three international partners attended the 2011 Annual Meeting in Tampa, making it the largest international presence to date. Of the three La Red members, five KAMS presenters and staff, and four JCDN presenters only two spoke fluent English. Despite the language barrier, the international guests were embraced by the NPN community, participated in all the activities, and were thrilled to make connections with many U.S. presenters and with each other. An outcome of these encounters is an exchange project between Japan and Korea scheduled for 2013.

Here is what our Japanese guests wrote about the NPN, the meeting and the cultural differences they experienced:

Participating in the meeting, I was reminded of the importance of a “place” in which people from different fields, positions and affiliations can come together as equals and talk to each other face-to-face. Currently, there is no such established system (of network) as NPN in Japan and thus, individuals in the field make their own efforts separately. T-PAM (Tokyo Performing Arts Meeting) is centered in Tokyo and its vicinity and does not necessarily connect professionals from other regions. JCDN is perhaps the only organization that connects different regions of Japan through dance performances. Learning about NPN’s structure was stimulating, and inspired me and my colleagues from Sapporo and Fukuoka to think about the possibility of creating a network in Japan and to think objectively about the cultural landscape of our country. More than anything, I felt a great joy to meet with NPN members face-to-face and am looking forward to building a network together.

—Reiko Hagihara, Program Director, Kyoto Arts Center

Although there are many “networks” in our field, many have become obsolete. In contrast, I witnessed that NPN works very well as a network, providing opportunities to meet colleagues face to face, to share values and ideas. It helped me think about how we could form a network in Japan. I also found it very significant that we were able to communicate with people from different countries, not only from the U.S. In particular, it was great to spend time and converse with colleagues from Korea about strengthening the network in Asia.

I thought that the self-introduction session at the beginning of the annual meeting was particularly wonderful and effective. It enabled immediate communication regardless of one’s position or affiliation. (No conference in Japan starts with such a casual style like that!) I came to the meeting feeling quite nervous and pressured due to the cultural difference and language barrier. However, since everyone was very open-minded and kind to me, I was able to overcome such feelings. I appreciated “the Buddies” program and want to express my sincere gratitude to all of you who supported my participation.

—Kyoko Yokohama, Program and Planning Coordinator, Fukuoka City Foundation for Arts and Cultural Promotion

 What I found wonderful about the meeting:

• The presenters based all over the U.S., coming together and having conversations on various issues face-to-face. From the official working sessions to social events including parties, the opportunities for face-to-face communication were maximized.  In comparison, the current situation of “network” in Japan is that we always say “I hope to get together and talk things out,” but it is very difficult to actually do so. I realized that the main difference is the fact that NPN secures financial resources for the convening, which is the key to making it actually happen.

What impressed me:

• It felt as if the air in the auditorium blew up and down along with how the audience members reacted in response to the keynote speaker. I was so surprised. It was like a scene from a play. In Japan, no matter how engaging the speaker, it won’t create that kind of atmosphere. I was impressed, thinking that this may have to do with the common practice of American people clearly expressing their feelings and thoughts in their daily lives.
• To be given this opportunity to visit the U.S. for the first time was precisely, “seeing is believing” the diversity of this nation of immigrants. In recent years, Japan has gained more awareness about diversity, however, the Japanese “diversity” is much different compared to the U.S. – as if all people in Japan are blood-related. I also seriously thought that cultural exchange is crucial for Japanese and the U.S. people, who think they know each other, to really understand each others’ cultural differences.

During the five days I was thinking that the U.S. is a young country, forever-young.

Chizu Saito, President, Concarino

Now celebrating its 10^th anniversary, the Performing Americas Program (PAP) is the only systemic international cultural exchange program in existence in the United States that is based on reciprocity and knowledge building. With its focus on exchanges between the United States, Latin America and the Caribbean, the program has successfully toured 34 artist/companies and funded an additional 30 Creative Exchange residencies throughout the hemisphere.

PAP has made possible the presentation of Latin American and Caribbean work by more than 50 U.S.-based presenting organizations, and presentation of 17 U.S. artist companies in 47 different cities across Latin American and the Caribbean by presenters who may have otherwise not been able to support these artists’ work.

Designing, funding and coordinating an international exchange program has been a formidable task—especially in the less than visionary national climate of international diplomacy that has prevailed since the program began in 2001. Almost in spite of this, however, this project has flourished, showing that the need and demand for international cultural exchange is as strong and possibly more important than ever. Presenters and artists from all parts of the hemisphere have responded that more programs like this need to exist, grow and be supported.

After their 2010 Creative Exchange residency in Guatemala with Grupo de Teatro Artzenico, Goat in the Road Productions of New Orleans reported, “The opportunity to conduct a Creative Exchange residency through PAP was a dream come true. We are rarely paid a living wage for our work as artists in the United States! To receive a salary to make and share work with an exciting group in Latin America for three weeks was an utter gift to us – as artists, as teachers, as citizens of the world. Thank you.” In the summer of 2011, Goat in the Road reciprocated by hosting Artzenico in New Orleans where they continued the work they had begun a year before.

Reciprocity, peer exchange and knowledge building are core values of all of NPN’s international exchange initiatives, and working with partner networks abroad has amplified the possibility for facilitating the growth of true exchanges among artists, communities, and presenter-curators. The host organizations in both the U.S. and Latin America and the Caribbean open the doors to their spaces to offer artists a new, respectful and dynamic environment to create, present and engage in contemporary performance practice. Selected curators from across the continent also travel to meet hosts, artists and see live work abroad, key to the success of program.

NPN’s coordination of the tours and Creative Exchange residencies has increased the capacity of NPN Partner organizations and other U.S.-based presenters to present international work, by providing funds and facilitating the often-daunting prospect of obtaining visas for foreign artists. We’ve also increased the visibility of U.S. artists abroad by funding and coordinating their travel to festivals and presenters as far away as Buenos Aires, Uruguay, Brazil and Santiago, and as close as Puerto Rico and Mexico City.

“Performing Americas has boosted touring, U.S. visibility and creative partnerships at a time when the U.S. suffered dismal public relations abroad as a consequence of the second Iraq war.” (Randy Gener, American Theater Magazine, September 2010)

The artists who travel within the program share their artistic and cultural languages, creating lasting and meaningful relationships that not only expand their own cultural horizons, as well as those of the host and audience, but also dispel destructive myths and stereotypes by conducting honest human exchanges that do the work international diplomatic relations fails to do.

Looking forward to its second decade of work abroad, NPN has broadened the scope of its international exchanges by adding new partnerships with the Korea Arts Management Services (KAMS) and the Japan Contemporary Dance Network (JCDN), and by leveraging its experience to identify new possibilities across the globe that will provide more opportunities for artists and presenters within NPN and beyond.

Since 2001, the Performing Americas Program has been a partnership with La RED (Red de Promotores Culturales de Latinoamérica y el Caribe) for a hemispheric exchange program which subsidizes reciprocal tours using the NPN Performance Residency model. Funding for Performing Americas is provided by the Doris Duke Charitable Foundation, the Robert Sterling Clark Foundation and, for Los Angeles artists and arts organizations, the City of Los Angeles, Department of Cultural Affairs.

For a complete list of activities, participating artists and hosts, and recently posted guidelines for our upcoming round of Creative Exchange, please visit the Performing Americas Program section of this website.

To find our more about our partner network, La RED, visit www.redlatinoamericana.com

 “The respectful co-existence of artists and producers/presenters was a revelation. The shared sense of vision and purpose was inspiring.”

“In general, the emphasis placed on relationship building always sets a different tone, and sets this meeting apart from other field gatherings.”

“Artists are integrated into the meeting is a thoughtful way. Very few field gatherings do as well.”

For the three-and-a-half day conference, NPN Partner Straz Center for the Performing Arts opened its halls for plenary sessions and breakouts. It was difficult to choose which of the fourteen Idea Forums to attend — topics ranged from disaster-preparedness to social networking to hip-hop theater to queer art practitioners. The Straz also presented exciting performance showcases that featured NPN Creation Fund artists who received subsidies to commission new work, as well as Tampa-based performers.  For the second year, #NewPlay TV! livestreamed the two evenings of performances.  You can watch the archived footage by following these links:

• Friday, December 9, 2011
• Saturday, December 10, 2011

In an effort to think outside the box, be environmentally-friendly and cut down on printing costs, this year’s meeting relied more on online publications. Q-R codes (two-dimensional barcodes) read by many cell phones were used to help attendees retrieve materials and navigational aids as they made their way through the meeting.

Springboard for the Arts presented two filled-to-capacity professional development workshops that addressed key issues that artists face in their careers. The St. Paul nonprofit is an economic and community development organization for artists and by artists.