National Performance Network > News & Events
News & Events
Notices for partners, news for artists, announcements from the field, job postings.
NPN’s practice is to offer performance opportunities at the Annual Meeting (45 minutes long) to a select number of Creation Fund awardees artists that were nominated by the NPN Commissioning Partners. The Forth Fund, which offers additional support for further development of the newly created work, was a pilot project in FY10 when awards were made to six artists. Beginning in FY12 all Creation Fund recipients can receive this additional support. Below are some thoughts from three of the national artists who will be presented at the Annual Meeting in Philadelphia. The Creation Fund is supported by the Doris Duke Charitable Foundation, The Ford Foundation and the National Endowment for the Arts. The Forth Fund is supported by The Andrew W. Mellon Foundation.
Teo Castellanos’ D-Projects adopts training practices from various sources, from the classic Eurocentric actor training of Stanislavski, to cultural B-Boy/Girl dance training, to Zen meditation, practice and philosophy. “When we go out into different communities we introduce social issues to audiences through the allure of contemporary art forms while simultaneously cultivating an activist spirit.”
Teo grounds his creative process in social issues that he needs to speak to.
Then ideas begin to formulate in my head. My interests lie in culture, anthropology, ritual, and spirituality. I bring these elements into my work in an attempt to create a visual collage for the stage. I research, write and, with my company, we begin brainstorming, manifesting ideas that begin in our heads. We also have a rigorous training process that includes formal Zen meditation and many times grueling exercises. This training also helps us with the formulations of artistic concepts and ideas.
Teo talks about his approach to building D-Project’s long-term sustainability:
Cultivating relationships with NPN partners, sharing your process, ideas and vision is an important part of moving your work forward and onto the radar of presenters. But I believe authentic friendships are vital, an artist should never create relationships to book gigs; rather I feel that we should build friendships through having similar interests both in work and life.
Teo holds a very Zen approach to the work, rooted in his own spiritual practice: “I believe attraction is better than promotion. Though this was not always the case for me, after maturing as an artist I realize that the folks who have similar likes in aesthetics will find their way to me (or me to them)” The ‘perfect fit’ spurred by mutual interest, usually arises by itself:
The presenters I have worked with in the past, and especially commissioning partners, are more than business partners — they are friendships cultivated over some years. They are people with like interests and commonalities and I have been interested in their work as much as they have been interested in mine. The presenters in my hometown have given us rehearsal space, community support, and have collaborated with us on educational and other projects.
Fat Boy, a FY11 Creation Fund award, was commissioned by Tigertail Productions and 7 Stages.
Tree City Legends by Dennis Kim was commissioned by Youth Speaks, Asian Arts Initiative, Hip Hop Theatre Festival and Intersection for the Arts. A multidisciplinary theater work, it melds post-hip hop aesthetics, urban folklore, Korean traditional tales, live music, legend, and parable, expanding beyond any specific Korean American experience and exploring the profound feelings of rootlessness and abandonment of urban people of color, specifically Asian Pacific Islander American immigrants. Joan Osato, producing director and a member of the collaborative creative team, reflects:
The support of the Creation Fund was critical in the evolution of the piece from a solo work written and performed by Dennis Kim, to a fully fleshed-out play with an ensemble cast. The writer, director and dramaturg were able to focus on development of the script and song while immersing the rest of the family characters into the world of Tree City.
The Creation Fund also funded the work of the design team that developed the rich visuals firmly rooting Tree City Legends in place, time and environment. These visuals were created in part through the work of the cast and crew who are artist/educators in a wide variety of disciplines. During an NPN Performance Residency, they worked with youth in the Bay Area through workshops and object-making rituals, examining the themes of love and loss. An evolving and open memorial on the set of Tree City Legends is constructed of letters written to loved/lost ones, a community altar and an installation of prayer flags made by audiences and visitors. You can view a short documentary on the play and communities of Tree City at http://vimeo.com/37065318.
Founded by Shinichi Iova-Koga in 1998, inkBoat is a performance collective built by and with the collaborative efforts of choreographers, dancers, musicians, visual artists, directors and actors. Presenting in environments ranging from traditional proscenium to site specific, inkBoat’s performances evoke both the traditional and the experimental, influenced by pioneering work from Japanese masters, Jerzy Grotowski, Peter Brook, Anna Halprin and Ruth Zaporah.
In 2009, inkBoat received funding from the NPN Creation Fund to support the creation of Crazy Cloud, a collaboration with Butoh dancer Ko Murobushi. Shinichi first met Ko in 1996 in Rome, Italy, where both were on a shared program. Ko’s hard-edged physical commitment impressed Shinichi. Years later in 2007, co-commissioner Andrew Wood of San Francisco International Arts Festival and Kyoko Yoshida of U.S./Japan Cultural Trade Network asked inkBoat what future projects they might support. Shinichi says, “At that time we were interested in using literature as the backbone. The book Crow with No Mouth by 15th century monk Ikkyu Sojun was the one, filled with biting and humorous poems.”
“Our rehearsals for Crazy Cloud began in 2008. Ko was flown out to our studio on the Lost Coast of California and we experimented for one week, putting ourselves under his direction and presenting the result to the local community in Petrolia and then in San Francisco at NOHspace.” In 2009, Ko and Shinichi met at Maggie Allesee National Center for Choreography (MANCC) and worked for three days creating a duet, as further preparation for the world premiere. Unfortunately, at the final stage of development (also at MANCC) before the premiere in May 2010, Ko was delayed by three weeks because of visa problems. So Shinichi directed and choreographed the work, spinning off from the earlier work with Ko. Shinichi elaborates:
When he arrived a week before the opening, Ko added a few touches and our collaboration was officially birthed. Two years later, in May 2012, we created another version that toured to San Francisco, Los Angeles, New York, Arcata and Philadelphia. This version had a stronger “Ko” stamp, much leaner and meaner than our 2010 premiere. Our present version carries on many of Ko’s ideas, though without Ko himself.
The entire project proceeded on a step-by-step basis.
Until we had received the Forth Fund, the project might not have had a life beyond the 2010 premiere. But with this funding and the commissioning structure of the NPN, we were supported and encouraged to take the project into 2012, re-working much of the piece in the process. Because we already had a two-site tour built into the NPN commissioning and with tour support from National Dance Project, it was possible to leverage further funding from The Japan Foundation and realize the May 2012 tour, which included the Painted Bride. …Throughout this four-year process, we kept returning to the source material — the life and poetry of Ikkyu Sojun, whose vibrant existence is documented through scholarship, folk tales, manga and a children’s cartoon.
December 4th deadline
The Innovation Lab for the Performing Arts is designed and managed by EmcArts, with the generous support of the Doris Duke Charitable Foundation. The Lab is a 12-month program that helps performing arts organizations incubate and test innovative strategies to address major adaptive challenges. It provides organizations (selected on a competitive basis) with space, time and resources to explore and accelerate the design and testing of new organizational change strategies for which they are both ready and committed, with the purpose of addressing specific adaptive challenges and providing a set of compelling “prototypes” for the future.
See the attached guidelines for more information or click on the following link: Innovation Lab for the Performing Arts, Round 8 RFP.
The NPN/VAN office re-opened on Friday, August 31. The staff who still had no electricity at home welcomed the opportunity to re-charge laptops and phones, and to enjoy a respite from the heat and humidity in the nicely air-conditioned office. None of us had any serious damage. The staff appreciates the concern expressed by many of you.
In anticipation of Tropical Storm/Hurricane Issac approaching New Orleans, the National Office will be closed Tuesday, August 28 and Wednesday August 29. Staff access to email and phone will be limited. We hope to be back in the office Thursday, August 30, at which time we will respond to all email and telephone inquiries.
The search committee of the board of directors continues to seek highly qualified candidates for the next Executive Director of South Arts. As we have considered leading candidates over the past several months, we have reaffirmed our search priorities for a visionary and proactive strategic leader who will be able to take South Arts to the next level of excellence.
We are seeking an executive who will maintain and strengthen the current portfolio of activities, while also designing new, innovative and entrepreneurial initiatives that increase South Arts influence and impact. In order to do so, the candidate chosen must demonstrate extensive success in generating revenue streams from a variety of funding sources.
Transition-Guides will be contacting key leaders in the arts industry nationwide to solicit nominations and applications from the field, regularly updating the search committee on their progress.
A position profile for ideal candidates is available on our website (see the profile). Further updates on our progress will be posted there periodically.
While this important search is taking longer than initially envisioned, we continue to look forward to a smooth transition. Gerri Combs will continue as executive director for the immediate future, with the support of her strong leadership team and dedicated staff.
We welcome your input on prospective nominees and invite you to share the attached profile as appropriate and to communicate with our search consultant, Jeanie Duncan, at email@example.com or by calling 301-439-6635.