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E-Newsletter / Volume 2 / Spring 2002

Posted: Tuesday, April 2nd, 2002 at 3:59 pm in E-Newsletters

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National Performance Network
Volume 2/Spring 2002

New Board Officers Accept NPN Leadership
National Performance Network (NPN) announces the election of officers and the addition of six new members to the Board of Directors. The NPN Board is made up of fifteen members, eight of whom are NPN Partners (a majority), and seven others who represent the arts field at large.

Newly elected officers are: Steve Bailey. Chair, Jump-Start Performance Co., San Antonio, TX; Carla Peno, Vice-Chair, Dance Place, Washington, DC; Dan Mayer; Treasurer, Independent Arts Consultant, Seattle, WA; and Wesley Montgomery,
Secretary, New World Theater, Amherst, MA.

New Board Members:
Brian Freeman, Playwright, Director, Performing Artist, Hello San Francisco, CA; Maria Rosaio-Jackson, Ph.D., Director, Arts, Culture and Communities, Urban Institute, Washington, DC; . Jordan Peimer, Cultural Programs Director, Skirball Cultural Center, Los Angeles, CA; Zoraba Ross, Assistant Executive Director, The King Arts Complex, Columbus, OH.

Currently seated Board Members:
Elia Arce, Joshua Tree, CA; Gene Dugan, Out North, Anchorage, AL; Kristy Edmunds, Portland Institute for Contemporary Art, Portland, OR; F John Herbert, Legion Arts, Cedar Rapids, IA; Dianne Pledger, St. Joseph’s Historic Foundation, Durham, NC; Mark Russell, R 5. 122, New York. NY; MK Wegmann. NPN President & CEO, New Orleans, LA; and June Wilson, NPN ExOfficio, Minnesota Dance Alliance,

Congratulations to all invoked with the National Arts Administration Mentorship Program (NAAMP). The evaluative reports entitled National Arts Administration Mentorship Program Report to the Field: A Record and Reflection of Value-based Learning are now available for distribution. Written by program evaluators Caron Atlas and Kathie deNobriga, Report to the Field documents the program from history and context through goals and expectations, best practices and lessons learned, recommendations and further considerations, and case studies of each of the Fellows. Project Director Vesna Todorovic spearheaded the publishing of both the Executive Summary (a separate document) and the Report to the Field.

The concept for NAAMP was born in 1998, when, foreseeing a field-wide organizational need, The National Performance Network partnered with The National Association of Artists Organizations (NAAO), DiverseWorks, Artspace (Houston), and the Master of Arts in Arts Administration program at the School of the Art Institute of Chicago to develop a pilot program to explore the process of mentoring a new generation of leaders. The result was the National Arts Administration Mentorship Program (NAAMP), designed to enhance next generation knowledge and skills, and ground mentees (called Fellows) with artist-centered values and field-based historical perspective. NAAMP sent five Fellows for one-year mentorships in artist-centered organizations representing a mix of disciplines, aesthetics and cultures.

Their stories proved, in the words of Vesna Todorovic, Program Director, that NAAMP recognized and supported self-directed learning, learning across generations, and a peer system of support. Multifaceted and flexible, it demonstrated that learning happens in many ways, in many locations.

Atlas and deNobriga generated a participatory attitude toward evaluation by creating a process by which the participants could evaluate themselves. Report to the Field began as a detailed outline of content, which the evaluators circulated to every participant for comment. Each wrote different sections, getting feedback from Todorovic and from one another. They then distributed the draft to a group of readers- mentors, fellows, and partners, for review and comment. Again, the courage to share power, in the interest of practicing actively democratic methods became a hallmark of the final stages of the pilot NAAMR

NAAMP Fellow Paul Arensmeyer is managing distribution of the Executive Summary from his host Mentee organization DiverseWorks, in Houston, Texas. All NPN Partners and selected colleagues will receive the Executive Summary and Report to the Field in late June or early July, and subsequently the Report to the Field will be available for order ($15 includes shipping) from the NPN national office, and at no charge on the NPN website.

Stanlyn Brevé is New NPN Administrative Assistant
Stanlyn Brevé, a New Orleans native and graduate of The School of the Arts Institute of Chicago, has joined the NPN national office staff as Administrative Assistant.

A painter and video artist, Stanlyn spent six years in Chicago before moving back to New Orleans with her husband Bryan, a musician and recording engineer.

In her spare time Stanlyn teaches art and volunteers with Big Brothers/Big Sisters. She has been involved in the performing arts and is excited to learn more about the field.

National Performance Network
P.O. Box 70435
New Orleans, LA 70172
225 Baronne Street, Suite 1712
New Orleans, LA 70112
Phone: 504.595.8008 Fax: 504.595.8006

The National Performance Network is 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 performing arts in the United States.

The National Performance Network is made possible with major funding from:

The Doris Duke Charitable Foundation
The National Endowment for the Arts
The Rockefeller Foundation
Arts International
The Louisiana Division of the Arts

The National Arts Administration Mentorship Program (NAAMP):

The National Endowment for the Arts
The Andy Warhol Foundation for the Visual Arts
The Albert A. List Foundation, Inc.

Recently Awarded Grants:

For Building the Code:
NEA Organizational Capacity

For Community-Based Arts Residency Project:
Louisiana Division of the Arts
Greater New Orleans Foundation

NPN National Office Staff
M.K. Wegmann – President & CEO
Lisa McCarthy – Managing Director
Mat Schwarzman – Core Subsidies Program Director
Jan Clifford – Development and Marketing
Stanlyn Brevé – Administrative Assistant
Kim Dummons – Administrative Coordinator, BTC
Therese Wegmann – Bookkeeper
Creative Jooces – Newsletter Consultant

As the 2001-2002 year comes to an end, I can’t help reflect on the strides that NPN has made to re-establish itself in the national arts community. I could summarize all that has happened in the last 12 months, bill instead I want to look forward.
In becoming an independent organization, no longer a project of Dance Theater Workshop, NPN had to find a separate identity, one that not only embraces the core programs of NPN, but the leadership of NPN organizations locally, nation- ally and internationally.

Over the last several months, NPN has held regional meetings around the
US, participated in Alternate ROOTS 25th anniversary FOCAS festival, New World
Theater’s Intersection: Future Aesthetics conference, TCG’s New Works/New Ways conference and Dance USA’s biannual Roundtable 2002. In the international arena, the Performing Americas project supported by Arts International brought groups of NPN Partners to the La Red meetings in Bahia and Guatemala. In all of these forums, NPN represents a voice for national touring and our NPN Partners role in providing infrastructure for performing artists creating work today.

In New Orleans, NPN is moving forward in establishing relationships with local organizations as Building the Code moves forward, collecting nominations for community based artists who will be included in the hook and on the web site.
Recent funding from the Greater New Orleans Foundation and the Louisiana
Division of the Arts and the NEA is supporting BTC. NPN’s local partners include
St. Marks Street Academy (a charter school), YA/YA, Ashe Cultural Center,
Contemporary Arts Center, the Louisiana Alliance for Arts Education and NPN
Partners Junbug Productions and Dog & Pony Theatre Co.

NPN is distributing two recent publications, the NAAMP and Regional Roundtable reports. This documentation of NPN and its partners work help NPN advocate for our mission Soccer in the larger arts community, and give us tools that build our identity. By now NPN Partners should have received copies of these two recent publications. And you’ll be hearing about the 2002-2003 directory soon.

Site work on NPN s Annual Meeting and Artists Retreat, December 14-18, 2002 in Washington, DC is also happening. Many more details to follow, but we’re excited to be going to DC, hosted by Dance Place and Dance Exchange, our DC NPN Partners.

I’m looking forward to another exciting year of NPN supported programs and gatherings. Please contact the national office any time with your questions and
–MK Wegmann

with Mat Schwarzman

Greetings, NPN Partners! Starting with this issue of the NPN Newsletter, I will share with you some of the insights, frequently asked questions, tricks and tribulations I am party to as the NPN Core Subsidies Program Director (Core Subsidies include Residency Funds, Creation Funds and Community Funds).

In an effort to continually better serve NPN Partners, the staff has been hard at wholesale jerseys China work for the last several months simplifying, clarifying and generally smoothing out the “wrinkles” in each of Hello NPN’s Core Subsidy Programs policies and procedures. We are proud of what we have accomplished:

The new Community & Creation Fund Applications are formatted as fill-in forms, making them easier to fill out and process. The Community Fund application also experimented with strategies to help Partners better understand the Funds objectives and guidelines.

The new online Annual Partner Survey enables NPN to gather most all of our data in one fell swoop each year. Several of the more detailed questions from previous years have been simplified in order to enable Partners to provide more reliable answers. Because the survey is online, Partners answers will be fed directly into our NPN Database.
Note: The DEADLINE has been extended to July 10, 2002.

The new Residency Agreement, formatted as a fill-in form, also simplifies needed information in order to facilitate easier and earlier submission by Partners. Instead of having to state the exact details of every residency activity, Partners need only to state how many, which days and which types. We eliminated a whole page!

The slightly revised Residency Guidelines now set a minimum participation level of 100 community people per residency, but also describe a variety of ways to achieve that goal that always existed but few Partners ever knew.

Final Reports will integrate an expanded Facts & Figures table with a shorter-than-ever set of 3 basic questions that get at the information that is most important to NPN. In addition, from now on Partners will be asked to submit only 2 copies of publicity materials instead of the traditional 5. Hooray!

Do you like these facelifts? Let us know.

ALL MY LIFE’S A CIRCLE: The Annual Cycle of Community & Creation Funds
After almost a year of experience and conversations with many of you, I have surmised that one of the most important things about NPN Core Subsidies is their reliability. My hope is that the calendar of Community and Creation Fund deadlines, during the upcoming fiscal year July 2003 and February 2O04 will become our standard for the next several years. In addition, I hope to continue using the February cycle as the time for Creation Fund and Community Fund incentives (as we did in February 2002). This will rely on many variables including Partners help in NPN fundraising.

Dear NPN Partners:
The other day, when I asked an NPN Partner why so many Partners wait until the last minute to submit NPN Residency Agreements, she replied: Most Partners don’t know what they are doing. After a moment of initial surprise, I realized what she meant. In many instances, Partners don’t know the details of their planned residencies (such as community sites, times, etc.) until the last minute. I think the changes outlined above (see Botox Treatment) will help Partners submit their Residency agreements much earlier (90 days in advance is recommended). It is in the interest of NPN Partners (and their cash flow) as well as the NPN National Office (and its sanity).
Thanks, Mat Schwarzman


Appalshop, Appalachian artists residencies

Columbia College, Audience participation for African American Dance Ensemble

Cultural Odyssey, Djola Branner/Queer Cultural Center

Dancers Collective of Atlanta, Lelavision residency

Dog & Pony, Ken Field/Revolution

Flynn Center, Dancing with Horses

Jump-Start Performance Company, Young Tongues 2002

Kuumba House, KNAFU/Roscoe Reddix/Lori Amare

Myrna Loy Center, Project Bandaloop

Out North, Jose Tores-Tama, Images of Youth

Tampa Bay Performing Arts Center, John McGivern and Doug Cooney

Wagon Train Project, Shapiro and Smith Dance

Walker Art Center, Rennie Harris Puremovement

Carver Community Cultural Center, Professional Development Conference Attendance

DiverseWorks, Research & Development, Marketing Theater Equipment Upgrade

Highways Performance Space, Staff Development re NPN

King Arts Complex, Staff Development Tech Upgrades

La Peña, Technology Upgrades

Links Hall, Tech Infrastucture

Painted Bride Arts Center, Communication Technology

Pat Graney Company, Professional Development Travel

Asian Arts Initiative w/ Su Teatro and Asian American Renaissance, Artists in Communities Training

Everett Dance Theatre, w/ New World Theater, Mentoring Programs

Liz Lerman Dance Exchange w/ FIynn Center, Walker Arts Ctr. & DiverseWorks,
4 year, 15- City Residency Initiative

El Centro Su Teatro, The Sun that You Are

This ongoing column highlights the NPN Partners who are finding creative ways to Wild use core subsidies. We invite you to emulate and improve upon their work!

Penumbra Theatre (Minneapolis) uses their NPN core subsidy monies to help fund their late-night performance series.

Jayne Bacetas Khalifa (Managing Director Penumbra is mainly a producing organization rather than a presenting organization, so right away we had a challenge figuring out how to use NPN funds. We decided, almost accidentally, to try out our first NPN residency as part of our Late Night Performance Series. We had begun the series for two reasons: first, as a forum where emerging and innovative artists could have a chance to get the exposure they needed; and second, as an integral part of our audience development efforts, a survival strategy to grow our next generation audience. Little did we realize this fit perfectly with the NPN vision. What we didn’t anticipate was the incredible responses that we’ve received, and the community-building that has resulted.

The Flynn Center (Burlington, VT) is using a combination of creation and C’oinnunity Fund subsidies to support Joanna Mend! Shows Dancing With Horses project.

Aimee Petrin (Program Manager “Do you know what it takes to take care of 7horses for two weeks on the grounds of a historical museum? Neither did we before we agreed to be the presenter for this project. At one point, we had to consider the possibility of having to lay water pipes! As we got further along, the Shelburne Museum became much more than just a site, but an actual partner in the conceptualization of the project. This prompted us to apply for a Community Fund subsidy. The second subsidy is enabling us to expand the range of community activities, involve additional local organizations, increase our capacity to do site-specific projects in the future, and help the artist by providing a tech rider she can use in other communities.”

Liz Lerman Dance Exchange (Takoma Park, MD) used a standard residency subsidy to bring in a composer/instrumentalist /vocalist for their new performance piece.

Jane Hirshberg, (Producing Director This was an instance where the challenge (of a dance company commissioning music in the creation of a new project, presenting additional expense) turned out to be a huge opportunity. We had commissioned Andy Tierstein to work with us on Uneasy Dances, but we didn’t t know to integrate him into our process. The NPN Residency gave him a full week with us plus brought him into contact with musicians and others in our community. This is a great way for Partners who produce work to expand their artistic capacities, involve musicians in the NPN and provide the community with a peek into the creative process.

El Centro Su Teatro (Denver,), working with Guadalupe Cultural Arts Center (San Antonio,), Xicanindio Artes (Mesa, AZ) and La Peña Cultural Center (Berkeley, CA), is using the Community Fund to develop stronger alliances among Latino-based NPN Partners,

Tony Garcia (Artistic Director The project started 4 or 5 years ago, when (composer) Danny Valdez and I started talking about an artistic project that grew so complex we doubted any single Latino community would have the capacity to support it. Working with the other groups, we decided to consciously use the project as a way to build those capacities together. Each community will come away with skills, knowledge and relationships that enable them to upgrade their technical production, marketing and outreach abilities –not just for this production, but permanently.

Contact Mat ( or these individuals for more information about these exciting projects

Winter ‘ 0 2

Dance Place, No Boundries: Dancing the Visions of Contemporary Black Choreographers, with soloist Gesel Mason.

Flynn Center, Abundance, a community performance with Marty Pottenger.

Links Hall, Sheldon B. Smith a work articulating the body’s response to place.

Miami-Dade w/ Flynn Center, Blessing the Boats by Sekou Sendiata.

Tampa Bay Performing Arts Center w/ Florida Dance Association and Dance Exchange, Near/Far/In/Out with Peter DiMuro and Liz Lerman Dance Express.

Wagon Train Project w/ Arts on the Green, Remembering Archie with Ruth Davidson Hahn.

Kuumba House w/ NKAFU Dance Co., Lori Amare and Roscoe Reddix in a full-length dance theatre piece.

From the Regional Desks
– Lisa McCarthy

NPN finished its first round of Regional Meetings in May 2002, feeling positive about the conversations that occurred as well as the future direction of these meetings. With participants that included Partners, artists and allies, content ranged from gaining more in-depth knowledge about each Partner’s venue, interests, challenges and season, to collaboration possibilities, to new Partner suggestions, to the impact of significant cuts proposed for state arts council budgets in the coming year

Regional Meetings provide Partners with a forum for sharing information on issues affecting their geographic areas and for strategizing on how the Network can strengthen communication between and among the Partners. NPN hopes to strengthen regional funding possibilities through colaborative touring and creation projects within the networks geographic framework. If the richness of the dialogue and the enthusiasm garnered by it is any indication. NPN is on the right track.

The only setback at this juncture is the unfortunate loss of two of the four regional desks. In the last several months the program has lost the services of both the Southern and Northeastern Desks. Efforts to temporarily replace these positions until December 2002 have not reached fruition

SO HERE IS THE CALL: the Regional Desk serves as the contact person to promote communication among Partners in the region, as well as between Partners and the national office, and assists in identifying ways to increase NPN’s visibility to artists and allies. Anyone interested in accepting the auspices of the position, please contact Lisa at file national office.

A Project of the National Performance Network

Since June 2001, NPN has sponsored the Building the Code arts education project as part of its efforts to develop the next generation of community-based artists and arts administrators. The projects first publication, an introductory book about the theory, practice and tradition of community-based arts for teenagers, is now underway. Mat Schwarzman, NPN s Core Subsidy Program Director and an arts educator for the past 12 years, is leading the project.

The three sections of the book will integrate text, images and sequential art (comics) in an innovative and entertaining style. The first section will answer a series of basic theoretical questions: the “who, what, when and where” of community-based arts. The second section will focus on 11 contemporary artists and art groups from around the country, in the form of “graphic short stories” about their experiences, approaches and beliefs. The third section will consist of graphic/narrative portraits of 10 historical community-based artists, as far back as the Revolutionary War.

The project has recently received funding from the Louisiana Division of the Arts and the Greater New Orleans Foundation. Troy Gooden of Houston has been hired to assist in researching the book’s historical component.

A National Advisory Group of artists, historians, researchers and writers has nominated 30 contemporary artists; 11 of these will be interviewed and their work documented during the next few months. An introductory article about the project and a sample comic about performance artist Rhodessa Jones will be published in the Association of Performing Arts Presenters Inside Arts magazine August and September 2002 issues.

Visit www.buildingthecode. org for more information

Building the Code brings Kim Dominions to NPN

Kimberly Dummons has joined the staff of NPN as Administrative Coordinator/ Research Assistant for Building the Code.

Originally from Baton Rouge, La, Kim graduated from Xavier University in New Orleans with a BA in Art, and recently earned an MFA from the University of New Orleans with a concentration in Sculpture and a minor in Printmaking.

Kim works with several New Orleans artists on a variety of commissioned and private works, and teaches An Appreciation at Xavier University.


NPN Annual Meeting
December 14-18, 2002
Washington, DC


The NPN Partners are distinguished by their diversity and their commitment to contemporary performing arts and social justice.

Out North Contemporary Art House, Anchorage

Xicanindio Artes, Inc. Mesa

Elai Arce, Joshua Tree
Cultural Odyssey, San Fransisco
Highways Performance Space, Santa Monica
La Peña Cultural Center, Berkley
Sushi Performance and Visial Art, San Diego

Colorado Dance Festival
El Centro Su Teatro, Denver

Dance Place, Washington

Florida Dance Association, Miami Beach
Miami- Dade Community College
Tampa Bay Performing Arts Center/
Off Center Theater

Dancers Collective of Atlanta, Inc

Columbia College Chicago, Community Arts Partnership
Links Hall, Chicago

Appalshop/American Festival Project, Whitesburg

Dog and Pony Theatre Company, New Orleans
Junebug Productions Inc, New Orleans

New World Theater, Amherst

Liz Lerman Dance Exchange, Takoma Park

Asian American Renaissance, St. Paul
Minnesota Dance Alliance, Minneapolis
Penumbra Theatre, St. Paul
Walker Arts Center, Minneapolis

Myrna Loy Center/Helena Presents

St. Joseph’s Historic Foundation, Inc, Durham

Wagon Train Project, Lincoln

Dance Theater Workshop, New York
Performance Space 122(P.S. 122) New York
Pregones Theatre, Bronx

Contemporary Dance Theater, Inc, Cincinnati
Martin Luther King, Jr. Cultural and Performing Arts Center, Columbus
Wexner Center for the Arts, Columbus

Asian Arts Initiative, Philadelphia
Asociacion de Musicos Latino Americanos, Philedelphia
Painted Bride Art Center, Philadelphia

Everett Dance Theatre, Providence

The Carpetbag Theater, Inc, Knoxville

Dance Umbrella/ Austin
DiverseWorks, Houston
Guadalupe Cultural Arts Center, San Antonio
Jump-Start Performance Co., San Antonio
Kumba House Inc., Houston
Multi-Cultural Education and Counseling through the Arts, Houston
Woman & Their Work, Austin

Flynn Center for the Performing Arts, Burlington

On The Boards, Seattle
Pat Graney Co., Seattle

Alverno Presents, Milwaukee


When Mat Schwarzman was asked to write for Community Arts Network (, he struck at the heart of how vital the arts are in community-building.

Why Not Football? is the kind of article that should be carried around in our briefcases – ready to whip out and inspire whomever might disparage the power of art to heal and transform. For the complete article and links, go to


This column features resources! Thanks to Steve Bailey of Jump-Start Performance Company, for the Texas Commission on the Arts into.

Gifts in Kind International ( facilitates the donation of software, hardware, farm, arc or products to nonprofits. For a small registration fee and a short easy application, your organization will receive a catalogue of available products and faxed updates as other products become available. You may access the catalogue online.

The Walter and Elite Haas Fund offers grants to California nonprofits, which could be used to assist NPN Partners in attending the NPN Annual Meeting. There is a four-month turn-around. Check out the Haas website (, as possible policy changes are in the works.

The Texas Commission on the Arts offers mini grants for travel subsidies and professional development, with a cap of $3.000 per organization per year. Deadlines: second Tuesday monthly.

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