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News & Events
Notices for partners, news for artists, announcements from the field, job postings.
Asian Arts Initiative is a multi-disciplinary community-based arts center in Philadelphia offering performances, exhibitions, and workshops for artists, youth, and adults of all racial backgrounds who need a space to develop their cultural “voice.” Asian Arts Initiative was founded in 1993 and is entering a new phase of growth, with the acquisition of our building and the vision to develop it as a multi-tenant facility to be shared with fellow artists and peer organization.
The development director is a senior-level staff member who participates in setting strategic direction and priorities for the organization. S/he is responsible for ensuring fiscal soundness and alignment of resources with program priorities. Over the next few years, in addition to maintaining a strong base of grant support, the development director will have a particular focus on expanding individual giving and cultivating major gifts as part of a capital campaign.
We are seeking an energetic, forward-thinking director of education programs to lead the growth of our youth arts and education programming. The ideal candidate will have a positive attitude and collaborative spirit, and be a great motivator and supervisor working with artists and staff on program and curriculum development, school and community outreach, classroom and group management, and artistic production.
Please link to asianartsinitiative.org to read full job descriptions.
FOR IMMEDIATE RELEASE:
Please Contact: Stanlyn Brevé, Director of National Programs
firstname.lastname@example.org or 504.595.8008 ext. 204
The National Performance Network (NPN) and the Visual Artists Network (VAN) are pleased to announce the acceptance of eight new Partners to the Network: five new NPN organizations and three new VAN organizations will begin partnership July 1, 2012.
NEW NPN PARTNERS
NEW VAN PARTNERS
NPN/VAN’s new Partner search is a two-year process. In September 2010, staff and board members met to review the criteria for the 2011/12 search. In summer 2011, NPN/VAN announced an open call for nominations, closing the nomination process in September 2011. A slate of nominees that met the criteria were invited to submit full applications. Full applications for Partnership were submitted in January 2012 and the slate of new NPN/VAN Partners was selected by NPN’s Board of Directors in February 2012.
The National Performance Network (NPN) is a group of diverse cultural organizers, including artists, working to create meaningful partnerships and to provide leadership that enables the practice and public experience of the arts in the United States. The Visual Artists Network (VAN) is a national network of visual artists, curators and exhibitors that provides professional opportunities and touring subsidies to contemporary artists and arts organizations.
NPN/VAN is supported by the Doris Duke Charitable Foundation, Ford Foundation, Andrew W. Mellon Foundation, Andy Warhol Foundation, Nathan Cummings Foundation, Japan Foundation – Center for Global Partnerships, Japan-U.S. Friendship Commission, Joan Mitchell Foundation, National Endowment for the Arts, Lambent Foundation Fund of Tides Foundation, MetLife Foundation, American Express, Office of Cultural Affairs/Louisiana Division of the Arts, Open Society Foundations, Robert Sterling Clark Foundation, and South Arts.
by Vanessa Adams
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 email@example.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.
Undergraduate junior/senior, graduate student, or recent college graduate (within one year) with:
Email the following to Bola Ogunlade, firstname.lastname@example.org. Please include “Summer 2012 Internship” or “Performing Arts Exchange Internship 2012″ in the subject line of your email.
Application deadline is Monday, April 16, 2012.
For questions, please contact Bola Ogunlade at email@example.com /404-201-7938, 1800 Peachtree Street, Suite 808, Atlanta, GA 30309
For additional information visit www.southarts.org
New England Foundation for the Art’s (NEFA) National Theater Project (NTP) is a system of support for devised, collaborative theater works. Modeled after NEFA’s National Dance Project, and with funding from the Andrew W. Mellon Foundation, NTP will select its first round of projects as a full program for Creation & Touring Grants.
NTP Creation & Touring Grants:
NTP is particularly interested in supporting work that reflects the evolving environment for theater, including but not limited to projects that:
Enhance the creation of a national network of presenters, producing theaters, and ensemble theaters with venues that will increase the potential for touring.
September 2012: Selection and announcement of NTP projects
South Arts seeks a dynamic, multi-talented executive director to build on its exceptional 37-year track record of strengthening the south through advancing excellence in the arts, connecting the arts to key state and national policies, and nurturing a vibrant quality of life.
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.
This September 19-22, Miami will host the annual Performing Arts Exchange (a program of South Arts). Juried Showcases will feature up to 18 touring artists/ensembles, performing for presenters from throughout the Southern, Mid-Atlantic and New England regions. Showcases are 15-minute presentations of a performance and are designed to give presenters a sense of the work as their audience would experience it. Showcases will be held the evenings of Thursday, September 20 and Friday, September 21 at the beautiful restored Art Deco Colony Theatre on Lincoln Road in South Beach, Miami. Presenters and other conference attendees will be transported to the Colony for these featured conference performances.
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.
Guidelines for the Doris Duke Charitable Foundation Artist Residency Program are now available online in the Arts Program section at www.ddcf.org. Residencies are designed to support artists and organizations with annual income of at least $300,000 to work together to increase demand for jazz, theatre and/or contemporary dance. These residencies are not designed to support creative time or the creation of new work as the primary residency goal. A fuller explanation is provided in the guidelines themselves; an accompanying FAQ is also posted to answer anticipated questions.
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
by Renata Petroni
Director of NPN International Program
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.”