National Performance Network > News & Events
News & Events
Notices for partners, news for artists, announcements from the field, job postings.
The Contemporary Arts Center in New Orleans has two positions open:
External Affairs Coordinator – The External Affairs Department is responsible for devising and executing public relations, marketing, and advertising strategies to promote all exhibitions, performances, and events programmed by the CAC.
Institutional Giving Manager – The Development Department is responsible for managing the contributed revenue of the CAC through public and private grants, corporate sponsorships, individual donations, and the CAC’s membership and special event programs.
Visit their website to learn more about the positions and how to apply. The deadline for both jobs is September 4, 2015.
The Andrew W. Mellon Foundation, in collaboration with Howlround, A Center for the Theater Commons at Emerson College, established the National Playwright Residency Program (NPRP) in 2013. The pilot round, which was on an invitation-only basis, has provided three years of salary, benefits, and a flexible research and development fund for American playwrights at 14 selected theaters.
Residencies for the next round will be selected through an open application process. To apply, theaters and artists must apply jointly and submit letters of intent from the playwright and artistic director, together with other specified materials to demonstrate eligibility and potential to achieve the goals of the program.
Go to the Mellon Foundation website for a full description of the program, the criteria and requirements and how to apply.
For this year’s NPN/VAN Annual Meeting in Portland, OR, we’re thrilled to announce the national and local performing artists who will present excerpts of their work during the Live & On Stage performances. A panel of NPN/VAN Partners, staff, and artists was convened to select the four national artists, all of whom have received a Creation Fund award during the last three fiscal years.
The performances will be at Lincoln Hall on the Portland State University campus at 8:00 PM on December 12 and 3:00 PM on December 13. There are limited tickets available for folks not attending the Annual Meeting; if you are interested in seeing the performances, please contact Erin Boberg-Doughton at the Portland Institute for Contemporary Art (PICA).
The title of the works and artists are listed below. The links will take you to the artists’ websites.:
The above artists will perform alongside these Portland-based artists:
In June of 2015, Arizona Senator John McCain released a report titled America’s Most Wasted in which he detailed what he considered to be the fiscal year’s most pork-laden, wasteful uses of taxpayer dollars. McCain hoped that the 18-page document will “help the American people demand an end to wasteful government spending once and for all.” It’s not at all surprising to see NEA funding included in such a list, but we didn’t expect the senator from Arizona to single out NPN Partner Sandglass Theater for their annual Puppets in the Green Mountains Festival, and, in particular, their presentation of the NPN Creation Fund work Paul Zaloom’s White Like Me: A Honky Dory Puppet Show. NPN reached out to Sandglass Co-Founder and Co-Artistic Director Eric Bass for comment. While Eric was on tour in Germany, he sent this response.
Response to Senator McCain
To be honest, the temptation to respond with unbridled sarcasm is strong. One would like to say that there is no need to fund puppet theater, because it is an art form so often associated with children and children don’t vote. Or one would like to address Senator McCain’s disdain for Paul Zaloom’s White Like Me, which Sandglass’ Puppets in the Green Mountains festival is presenting. White Like Me is a show about white privilege. One would like to say that a man who revealed in his 2008 election campaign that he has seven homes would hardly consider this a fit subject to fund. Besides, white privilege is, essentially, a redundant expression. In a culture in which these words have become synonymous, who would want to fund redundancy?
But, frankly, after the first few minutes of getting high on sarcasm, we can all settle down to some practical, even civil dispute. Well, civil on our part, anyway. We need to invite Senator McCain to our festival. We don’t expect him to come, but we need to make our invitation serious and be prepared for him to accept. It’s in everyone’s interest. The festival, which has a long history, is dedicated to international cultural exchange and to the advancement and development of a highly inventive branch of theater. We are not, in fact, a festival of children’s theater, although we also present a number of performances for young audiences, this year including shows from Mexico and Cuba. Since 1997 we have presented about 75 different companies from five continents. We have developed a community base for this festival, with significant community support. In addition, we have now given the festival a new focus: under the sub-title “Walking to the Borders,” the festival now features work that addresses issues of “otherness” and “marginalization” in our culture, and includes workshops and dialogues that pair artists with activists to openly discuss the relationship between art and these pressing issues. Our public is invited to join in these dialogues, and to talk about immigration, race, gender, disability, or any other of our social concerns that drive us to make relevant theater. Among our festival guests will be Shura Wallin from Green Valley Samaritans, an organization that helps to rescue migrants from the Arizona deserts. We cannot imagine a more fervent dialogue than one in which Senator McCain would be present.
But, truth be told, I suspect that Senator McCain is not even responding to the potential heat of this dialogue, or any other. I suspect that we are merely a sound bite, chosen by one of his aides and fed into the political pipeline to rally the neo-cons and shame the senators, congressmen and congresswomen who really do understand that the arts are vital to our society. I think we are, for the senator from Arizona, mostly a stereotype with which he can play the game of self-righteousness, and win some votes among those who have – or dream of having – as much real estate as he does. Not that I have a problem with real estate. Theaters need homes, just like some of our senators.
Senator McCain, I would be happy to put sarcasm aside. A serious and respectful invitation is on the way to you.
Eric Bass, Sandglass Theater
updated 10/14/2015: The position has been filled.
The National Performance Network, including the Visual Artists Network (NPN/VAN), is a 30-year old national intermediary arts organization based in New Orleans. It is a diverse group of cultural organizers working to enhance the practice and public experience of the arts in the United States. NPN/VAN’s programs include local, national and international activities and serve three primary purposes: subsidizing the creation and touring of new work by contemporary artists, convening NPN/VAN organizational partners with artists and colleagues, and influencing cultural policy. NPN has an annual budget of $3.5 million.
Please send letter of interest addressing responsibilities, skills and qualifications listed above, resume, writing sample, and three references to: firstname.lastname@example.org. No phone calls please. NPN is an EEO employer and is committed to diversity in its hiring and in the workplace.
DEADLINE: August 21, 2015
Please share this with anyone that you think might be interested and/or post it in places where you think it might reach the right people. You can download a PDF copy of this job announcement here.
Since 2007, the Creative Exchange has supported more than 40 artists and artist companies from across the hemisphere for two- to five-week residencies with hosts abroad. As an outgrowth of NPN’s Performing Americas Program (PAP), the residencies are focused on exchanges between the U.S. and Latin America and the Caribbean, specifically U.S.-based artists traveling to hosts in Latin American and the Caribbean, and Latin American and Caribbean-based artists traveling to U.S. host sites. In contrast to NPN’s international touring program, the Creative Exchange is designed for longer engagements, which allow artists to develop relationships with host communities over an extended time period. After having spoken with artists and hosts that had participated in the Performing Americas Touring Program, the message was clear: international exchanges were more than just performing and moving on to the next city — communities and artists on both sides were desiring longer time periods to collaborate, develop new work in unique environments, understand the process and methodology of partners, and to be part of a cultural exchange that builds lasting relationships through the performing arts.
The Creative Exchange is about deepening relationships and investing in process. In 2014, Sandglass Theater of Putney, Vermont received a residency award to travel to El Salvador and work with Teatro Luis Poma of San Salvador. The project’s goal is to develop a collaborative piece between the two companies — an adaptation of the story “Nathan the Wise.” This work will be performed in El Salvador and will tour in the United States upon its completion.
Roberto Solomon, director of Teatro Luis Poma shared his appreciation of the exchange: “Thanks to the National Performance Network and the Centro Cultural of the Spanish Embassy in El Salvador, we have been able to have a three-week workshop to develop a version of “Nathan the Wise,” which is a play on religious tolerance, written in the 18th century. It has an incredible repercussion in what is happening around the world today and particularly in Central America: things are getting split up into ghettos of thought. And, we think that a future production of this play can greatly contribute to what I call the civilization of society.”
Because of the distance and time factors of international cultural collaborations, works often progress over time in shorter spurts of development, and the spaces in between the face-to-face contact provide for greater reflection, insight and innovation. Sandglass will be returning to El Salvador in 2015 to complete the second phase of this collaboration.
The Creative Exchange residencies are designed to be flexible and support work that can range from educational activities and creative research to setting a work on a host company or technical skills workshops. This model — designed for only one or two artists traveling— has made these cultural exchange projects more travel friendly and cost effective, allowing NPN to support more weeks of activity to more artist companies. For the current fiscal year, NPN has developed a new partnership with the Miami Dade County Department of Cultural Affairs, which provides additional funds for projects that support Miami-Dade County-based artists, and has leveraged even more artist support through this match.
For the 2014-15 funding cycle, Performing Americas added a new component to the Creative Exchange. In addition to the multi-week residencies, there is a new “mobility” award to support research. The Creative Exchange Mobility awards aim to provide support for artists and hosts who wish to explore face-to-face relationships with potential partners in the design of a future exchange project, i.e. Creative Exchanges, touring, or collaborations. This subsidy supports travel only, with a maximum of $1,000 per award, and is not intended as residency or touring support.
Each year, NPN’s International Program has awarded 6-8 Creative Exchange residency projects throughout the hemisphere that represent a diverse range of geographical regions and disciplines. Annually, the application period opens in December with deadlines in March of the following year. Guidelines are posted on the website in English, Spanish and Portuguese once they are available. For the 2013-2014 application round, six projects were awarded residency subsidies and four received mobility awards:
|Miami Light Project (Miami, FL)||Golpe Seko (Santiago, Cuba)||Music|
|The Play Company (Brooklyn, NY) and Yale University (New Haven, CT)||Guillermo Calderon, (Santiago, Chile)||Theater|
|Antonius Roberts Studio & Gallery at the Hillside House (Nassau, Bahamas)||Alexis Caputo (Miami, FL)||Spoken Word, Theater|
|RED de Artistas del Caribe (Baranquilla, Colombia)||Bistoury, Inc. (Miami, FL)||Dance, MediaArts|
|Hotel Oloffson/FOKAL (Port au Prince, Haiti)||Jean Appolon Expressions (Boston, MA)||Dance|
|LindaLinda (Buenos Aires, Argentina)||Pig Iron Theatre (Philadelphia, PA)||Theater|
|Teatro Luis Poma (San Salvador, El Salvador)||Sandglass Theater (Putney, VT)||Puppetry, Theater|
|Pedry Roxana / El Mejunje (Santa Clara, Cuba)||Nick Bazo, The Theater Offensive (Boston, MA)||Performance GLBTQ Activism|
|Mirella Carbone / La Escuela de Danza Contemporánea de la PUCP (Lima, Peru)||Ivonne Batanero (Miami, FL)||Dance|
|Teatro Linea de Sombra (D.F. Mexico)||Ruth Wikler-Luker (Portland, OR)||Theater, Digital History Project|
|Eunide Edouarin (Port au Prince, Haiti)||Regine Roumain/Haiti Cultural Exchange (Brooklyn, NY)||Music|
Funding for the Performing Americas Program is provided by the Doris Duke Charitable Foundation, the Robert Sterling Clark Foundation and, for Miami-Dade County artists and arts organizations, from the Miami-Dade County Department of Cultural Affairs.
For the 2014-2015 grant cycle, NPN is working in partnership with the Miami-Dade County Department of Cultural Affairs to provide matching funds for projects involving artists based in Miami-Dade County or host sites located in Miami-Dade County.
NPN/VAN had local, national, and international support during New Orleans’ 24-hour community online giving event, GiveNOLA DAY on May 5, organized by the Greater New Orleans Foundation. Supporters gave more than $4 million to 571 Southeast Louisiana nonprofit organizations. NPN/VAN had 40 donors and raised $1,932.