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News & Events
Notices for partners, news for artists, announcements from the field, job postings.
South Arts is excited to announce that we are now accepting applications for the 2013-2014 Literary Arts grant program.
This competitive program offers nonprofit arts organizations, in our nine-state region, financial support to engage writers (fiction, creative nonfiction, or poetry) who reside outside of the applicant’s state. Applicants can receive up to $2,500.
Do not miss your chance to bring your favorite literary artists to your community! Past grantees include the Global Education Center (TN), The Festival of Words Cultural Arts Collective (LA), and Ruth Eckerd Hall, Inc. (FL) who have brought in writers such as Matthew Shenoda, Randall Kenan, and Glenis Redmond.
Application deadline: Wednesday, May 1, 2013
For more information, click here or contact Nikki Estes, Grants Program Director at (404) 874-7244 ext. 16
The Network of Ensemble Theaters invites you to apply to share your work with the Honolulu arts community and a national audience! The Network of Ensemble Theaters (NET) hosts MicroFest USA: Honolulu – A National Summit and Learning Exchange June 13-18, 2013.
The culmination of the four-part, four city MicroFest USA: Revitalize, Reconnect, Renew, asking: “How does art impact your community?” the National Summit and Learning Exchange will bridge local and national artists, weaving together the themes and conversations from the previous MicroFests as we share success stories, challenges, inspirations and questions about
art-based community development.
NET is seeking proposals for cross-sector and multi-disciplinary projects, case studies, performances, workshops, etc. You don’t have to be a theater artist to apply. For more information check out the MicroFest USA Honolulu National Summit and Learning Exchange page on NET’s website or use the links below to download the RFP and application.
Please read the RFP carefully before filling out the application. The RFP Deadline is February 28.
If you have questions, check on the NET Facebook group and the NET website.
NET MicroFest Event Coordinator
Deadline: June 1, 2013
Organized by the Arts Curators Association of Québec and hosted by PHI Centre and the Faculté des arts of the Université du Québec au Montréal (UQAM), this international symposium will examine the practice of performing arts curation and will be held in Montréal on April 10-13, 2014.
This symposium endeavors to bring together recent discourses on curation in all performance disciplines — dance/movement, music/sound, theatre/text-based, interdisciplinary, media arts and emergent practices — in order to enrich, structure and theorize possibilities of curating in these fields, with an interest in “best practices.”
NEFA’s National Theater Project (NTP) Creation & Touring Grants provide funds for creation and preparation for touring of collaborative, devised projects. These grants are highly competitive and are awarded to approximately six projects annually.
Read Program Manager Quita Sullivan’s post in NEFA’s Blog:
Meet NTP staff & connect with NTP grantees at ArtsEmerson’s The Next Thing Festival, 2.15-2.24.
The Fund for National Projects awards grants in support of projects that strengthen the national infrastructure of the professional nonprofit dance, jazz, presenting and/or theatre fields; or improve conditions for the national community of performing artists in professional nonprofit dance, jazz and theatre.
The Doris Duke Charitable Foundation (DDCF) is accepting online letters of inquiry by the deadline of March 1, 2013. Go to their website for grant details, criteria for support, application deadlines and submission instructions.
Six Philadelphia companies are part of the showcase at the NPN Annual Meeting in Philadelphia this December. Four artistic directors shared reflections on their artistic practices with the NPN staff.
Makoto Hirano of Team Sunshine Performance Corporation reflects on the company’s origins in 2008:
We came together for a very simple reason: to make one, excellent hybrid piece of movement-centric theatre, entitled Punchkapow. Three experienced and widely varied independent performance artists – myself having a successful career working in post-modern dance-theatre, Ben Camp in European physical-theatre, and Alex Torra as a director of multiple experimental genres – coming together to collaborate on the project itself, for us, was an act of creating community. Since then, we’ve decided to continue our work together in a wide range of projects, from curating ‘salons’ to launching mini-performance ‘events,’ and offering one-on-one sessions to prepare for the Zombie apocalypse.
Presented at the Philly Annual Meeting is Team Sunshine’s project JapanAmerica Wonderwave.
The process for anonymous bodies || art collective’s other.explicit.body, like the process for all their work, is
….rooted in our dedication to the idea of creation-via-consensus and to the notion that we can make the most interesting art when everyone involved has a voice. Crowd-sourcing and group ownership is the name of our game, and though there is often a director and/or lead-artist, those individuals serve as an architect for creation instead of the source of it. There is no playwright, there is no single-voice – there is only a process that asks participants to participate hard, generating material through interviewing-techniques, long-form improvisation, free-writing exercises, and our own particular approach to on-your-feet playmaking.
Jaamil Kosoko will perform other.explicit.body during a January APAP Showcase at Dance New Amsterdam in New York City, and on February 15-16 at the Third Annual “Black Aesthetics As Politics” conference in Pittsburgh, PA.
Kariamu Welsh, artistic director of Kariamu & Company: Traditions, talks about her own creative process as multi-layered:
An idea, thought, image, scene, story or moment can strike me. A mood, color, tone, rhythm or sound can also ignite a seed that often grows into a work but not always. These ideas can fester for some time until one of them becomes front and center in my consciousness and then I act on that idea by taking it to the studio. The work is never fleshed out beforehand and even as I am choreographing the work, the piece will often take a completely differently direction that may not seem to have any rhyme or reason to it but I have learned to trust my artistic instincts and off I go in that direction. I can keep several works in my head at a time. There is no special queue or lineup to my approach or decision to choreograph a work, but one work will emerge as the one that I need to work on at that time.
Welsh emphasizes that as choreography is her work, “an important part of that process is my relationship with dancers. These relationships are integral to my creative work and often the dancers shape the dance in subtle and nuanced ways. Their bodies, energy, experiences and presence are many parts that make up the whole. I have been extremely blessed in working with dancers for as long as twenty years. We are able to grow together and to ‘return’ to dances that need adjusting.”
Artistic director and co-founder of 1812 Productions, Jennifer Childs takes traditional comedic forms (stand-up, improvisation etc.) and re-purposes them as theatrical storytelling engines. “While the original work takes different forms – from full-length musical with five-piece orchestra to quick-change vaudeville to intimate cabaret acts – all are a mix of form and chaos. The strict architecture of comedic form, the mathematics of building a joke and the insistence of comedic rhythm combine with the divine messiness of being human and flawed.”
Childs speaks of the central importance that research has in her creative process:
Regardless of the form the final piece takes, the development process includes extensive research. In the case of Why I’m Scared of Dance… [showcased at the NPN Annual Meeting], that research included dance lessons with hip-hop, ballet, jazz and modern dancers. For a series of pieces on comedic history, research included interviewing, connecting with and learning from comedic icons such as Phyllis Diller, Sid Caesar, Mort Sahl and Dick Gregory. Research for our current project under development is much more community based – interviews with over 50 women of all different backgrounds about the role of comedy in their lives.
All of this research is then brought into the rehearsal room, using guided group improvisation, writing exercises and most importantly, Childs says, “harnessing the natural energy and chemistry of the ensemble and making each other laugh.” Childs then structures and shapes the final piece.
Why I’m Scared of Dance by Jen Childs can be seen January 15-27, 2013 in Ambler, PA at the Act II Playhouse. Her new work, It’s My Party: The Women and Comedy Project, will premiere at the Plays and Players Theatre, Philadelphia PA, April 25-May 19, 2013.