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E-Newsletter / Volume 8 / Summer 2004

Posted: Wednesday, June 2nd, 2004 at 4:26 pm in E-Newsletters

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National Performance Network
Volume 8/Spring 2004

2003 Annual Meeting Evaluation Notes

More than 250 people came to make connections with NPN Partners, artists and colleagues at the 19th NPN Annual Meeting in Chicago, November 15-19. 2003. Digging into cultural policy discussions, being wowed by Art Bursts, taking opportunities to learn new skills, and seeing the work of some of the most exciting and talented contemporary artists working today kept everyone talking and walking between the Chicago Cultural Center, the Museum of Contemporary Art, and the Allerton Hotel.

Evaluation data gathered at the meeting is being used to design the 2004 meeting in Los Angeles. Here are some insights worth sharing: While NPN may be a 20-year-old network; representatives of many NPN Partner organizations do not know one another. Nearly half were attending an Annual Meeting for the first time, and only 15 percent had attended five or more meetings. More people identified as artists than as NPN Partners (the increased number of artists influences the dynamic and indicates a need for more time spent communicating). The attendance of people of color increased 6 percent this year, to just under half of all participants. People under thirty comprised 15 percent, and people with disabilities and those over sixty comprised 2 percent.

The Rally, with activist Bernadine Dohrn, was a resounding success. While respondents agreed with her activist agenda, not as many wanted to see overtly political performances. One respondent said, “trends within art/culture [&] the ongoing placement of work.., that fulfills a larger social agenda… 1 have some philosophical questions about that.” Another missed seeing Wholesale San Francisco 49ers Jerseys work without a huge TOPIC.”

The workshops were rated highly, as were the theme-based Rants & Reflections. One participant suggested that NPN Partners “bring a broader representation of their staff’ in order to develop “tomorrow’s leaders,” Changing the video showcase to two regions per year made that process lo much easier.

Respondents had a variety of suggestions for future Annual Meetings. Many were adamant about one hotel accommodating everyone, and found the meeting too long. Regional Meetings held within the Annual Meeting need more specific agendas. Participants want a venue for late night conversation and/or performances, and they do not want box lunches!

From June Wilson NPN’s Chief Operations Officer

It’s great to be back among friends and colleagues at NPN, having attended my first

NPN Annual Meeting in 1989 while an employee of the Minnesota Dance Alliance (an NPN Partner). In January of this year I joined the staff of NPN as Chief Operations Officer. I oversee NPN’s internal operations, including programs, resource development, and financial management. The position of C00 was created as a complement to MK’s CEO position, giving MK more freedom to focus on external policy issues facing the field.

The past year also brought about other staff changes at NPN, with the resulting mixture of sadness and excitement as old staff members leave and new ones arrive. We bid a fond farewell to Lisa McCarthy, Managing Director (2001-2003) and Program Director Mat Schwarzman (see page 5) who is now focusing his time and energy on developing the Building the Code project. Communications Coordinator Jan Clifford’s last day was June 30. Jan worked closely with the Regional Desks to plan and implement the Regional Meetings, and as a result helped to clarify communication channels and better integrate this program into NPN’s activities, We greatly appreciate the contributions Lisa, Mat, and Jan have made over the years. They were among the first staff hired at NPN in 2001, and played an important role in establishing the National Office in New Orleans.

Other recent staff changes include Stanlyn Brevé’s promotion, this spring, from Administrative Assistant to Programs Coordinator, and the hiring of Jon Pult as Operations Assistant. Jon is an amateur Ukelelist, a freelance writer, and producer of the weekly Bakelite Radio Theatre. In addition to these salaried staff positions, we have two new contract employees. Mimi Zarsky. Meeting Coordinator, is a producer with the Building the (‘ode project and also a professional potter. She has a long relationship with NPN, having worked on four of the last five Annual Meetings. Sandy Sullivan, who has a Ph.D. in English and seven years’ experience writing for the performing arts, is NPNs Editor and Publicist.

I am excited to once again he part of a network of like-minded and passionate people, having previously served on NPN’s transition team and Board (1998-2002). When MK first spoke to me about the position of COO and the future direction of NPN, I danced for joy inside. The past few months have been challenging, inspiring, and rewarding. I look forward to a bright and thoughtful future with this amazing organization.

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 Sunny Doris Duke Charitable Foundation
The Ford Foundation
The Nathan Cummings Foundation
The National Endowment for the Arts
Altria Group, Inc.
Arts International
The Chicago Community Trust
Kraft Foods, Inc.
The Louisiana Division of the Arts
The Albert A. List Foundation, cheap nfl jerseys Inc.
The Arts Council of New Orleans

Building the Code:

National Endowment for the Arts
The Louisiana Division of the Ads

NPN National Office Staff

M.K. Wegmann –  President & CEO
June Wilson  –  Chief Operations Officer
Stanlyn Brevé – Programs Coordinator
John Pult – Operations Assistant
Therese Wegmann – Bookkeeper
Ariana Hall – Performing Americas Coordinator
Mimi Zarsky – Meeting Coordinator
Sandy Sullivan – Editor & Publisher


NPN is proud to announce support from the Ford Foundation New Works program. Fifteen national organizations whose programs directly benefit independent artists have been funded through New Works. NPN has received a two-year grant of $300,000, enabling its to maintain current levels of activity. The New Works program is a recognition of the valuable role NPN and colleagues play in providing infrastructure support for artists.

As valuable as this funding is, there is another facet to Ford’s support that can have long-lasting impact on the field and help sustain NPN into the Homegate future. With support from Ford and other foundations, a new organization has been created called LINC (Leveraging Investments in Creativity). LINC was formed to develop strategies and programs that respond to the needs of independent artists working in the United States. Using the Investing in Creativity Report from the Urban Institute ( to inform its mandate, LINC intends to address the needs of artists in a variety of arenas, including healthcare, housing, markets and demand, and professional development.

LINC and the New Works grantees will participate in a series of gatherings and activities, enabling its to “discuss common challenges, build knowledge on effective practices, and explore ways to collectively expand and strengthen resources for artists working in diverse artistic disciplines and serving diverse communities.” We’ve attended three of these meetings so fat’.

We’re looking forward to the many new opportunities for collaboration in providing support for artists working independently. Working in partnership with others whose mission and values intersect with ours is a key strategy for NPN–both in our internal structure and in our efforts to strengthen the field.

FORD New Works Organizations:

Alternate ROOTS (Atlanta, GA)
Cave Canem (Charlottesville, VA)
Creative Capital (New York, NY)
First People’s Fund (Rapid City, SD)
Fund for Folk Culture (Santa Fe, NM)
Independent Television Service (San Francisco, CA)
Meet the Composer (New York, NY)
National Association of Latino Arts and Culture (San Antonio, TX)
National Museum of the American Indian (Native Artists Fellowship Program) (Washington, DC)
National Performance Network (New Orleans, LA)
National Video Resources (New York, NY)
New England Foundation for the Arts (National Dance Project) (Boston, MA) Network of Cultural Centers of Color (Staten Island, NY)
Sundance Institute (Native American Program) (Los Angeles, CA)
Theater Communications Group (New York, NY)

MK Wegmann

20th Annual Meeting
December 3 – 7, 2004
Los Angeles, CA

Winter 2004 Community Fund Awards
Cultural Odyssey
Cultural Odyssey proposes to document, evaluate and disseminate saxophone great Chico Freeman’s second NPN residency. The first, in 2002, resulted in an opportunity for local musicians to interact, rehearse arid perform Chico’s music. Due to the success of the last residency arid public demand, Cultural Odyssey will bring Freeman back for an encore residency in 2004. – $5000

Dance Theatre Workshop
DTW will underwrite expanded activity for Everett Dance Theatre’s residency, which includes a presentation for high school students and development of a community engagement project in the Bronx that will serve as a model for residency activity, as Everett Dance Theatre tours across the country. – $5000

Jump-Start Performance Co.
Jump-Start will involve local artists in the video documentation of the NPN residency of Guillermo Gomez-Peña. Peña will present Epcot El Alamo, Lieblingst?chter a Chicano science fiction performance opera about the possible “Disney” future of San Antonio and touristic culture in the United States. – $5000

Myrna Loy Center/Helena Presents
Project Bandaloop. This project will increase community awareness of PORTAL by engaging Lewis and Clark audiences, upgrading editing programs, and creating a video and materials for MLC’s website to highlight the project. – $5000

Theater Offensive
Community Fund support will improve video documentation of the NPN Residency with Letta Neely. Professional personnel and upgraded equipment will he used to edit a short video to be utilized by NPN Partners and funders that documents/evaluates relationships with artists, audiences and community members, and measures the impact of the production. – $5000

Winter 2004 Creation Fund Awards

Florida Dance Association and 651 ARTS
Marlies Yearby/Movin’ Spirits Dance Theater will conduct four residencies across the country to foster the creation of Woom’en, an evening length performance with live music, language, gesture, dance and videotaped interviews. – $5000

Walker Art Center and Alverno Presents
Jon Langford’s The Executioner Last Song will be a performance art piece combining spoken word, visual art, arid recordings/performances of American roots music on the themes of “murder, mob-law & cruel, cruel punishment. – $5000

Dance Place and Bates Dance Festival
Marc Bamuthi Joseph’s new work Scourge, with musician John Santos and choreographer Adia Whitaker, will focus on the 200th anniversary of Haiti’s independence. – $5000

Dance Place and Miami-Dade College, Cultural Affairs
NY2Dance (Nejla Yatkin) will create a dance theatre piece utilizing her knowledge of French, German, and English to (re)create the story of Mata Hari. – $5000

DiverseWorks and Boulder Museum of Contemporary Art
The Monkey Saddle will be a solo piece with Michelle Ellsworth and an animated video putty freak called The Mormon Sex Organ. Midi technology, humor, animation, music, Joseph Smith, the Bonobo apes, and dance are all central to Ellsworth’s work about location, religion, and copulation. – $5000

Walker Art Center and the Flynn Center
My Face of Us All will bean evening-length piece with Butoh dancers, musicians, and live video, which takes place within a subtly changing sonic arid visual installation and draws on the myth of Sisyphus and the novel Woman in the Dunes. The primary artistic team is Butoh dancer and choreographer Dawn Saito, composer and pianist Myra Melford, and architect/sculptor Michael Haberz. – $5000

New WORLD Theater/University of Massachusetts and Reston Community Center
Junebug Productions will re-mount Vol. II of the Junebug cycle of plays, You Can’t Judge a Book by Looking at the Cover… featuring William O’Neal, John O’Neal’s son. The play has a youthful, hip-hop treatment. New music and poetry/rap from William O’Neal aims for younger audiences. – $5000

Walker Art Center and Performance Space 122 (P.5.122)
Choreographer Sarah Michelson will create Precious Vacuum, an evening-length work. Conceived as a movement-based interdisciplinary “environmental” piece, the work features six dancers plus skilled local performers selected by audition. Precious Vacuum will continue Michelson’s investigation into the complex rules of landscape and / architecture. – $5000

This ongoing column highlights NPN Partners’ stories 0f interest

0ut North exists to create and connect art, community and change. We find and share cultural explorers whose ideas challenge and inspire; we work to build and operate creative space where all genera/ions gather and learn; and we champion, through the arts and humanities, people marginalized in our socieGt

The acquisition of Out North Contemporary Art House’s $515,000 building from the city of Anchorage, for $I, was a roller-coaster ride of shady politics and prejudice pitted against smart maneuvering and community solidarity. For once, the good guys won.

Jay Brause and Gene Dugan are life partners living in Anchorage, Alaska, and co-Directors of Out North. I spoke with them by phone for this article.

Homesteading Lesbians

In 1985, Brause was heading up a survey by the Anchorage Gay & Lesbian Center to identify needs in communities statewide, and discovered that people wanted more identitybased cultural events, specifically theatre. Dugan thus found himself with a project that turned into a job, and then a mission. Out North was born, and its first production was a Jane Chambers comedy about two homesteading lesbians who got married.. only a fantasy in 1985. Next year, for Out North’s 20th anniversary, that work will be reprised with the original cast.

The 10,000 sq. ft. “Grandview” was a telephone-switching center for the Territory of Alaska in the 1950s, and then a neighborhood library until the late 1980s. After ‘peeking into buildings all over town,” I3rause secured a lease to the vacant city building in 1991, and spearheaded a $500,000 remodel to make it Out North’s home. Other incubating organizations rented space, with Out North managing the facility.

Controversy and Litigation

In 1993 Anchorage refused to accept paid ads on city buses for Out North’s Pomo Afro Homes engagement. Out North sued, won the case, and Pomo Afro Homes played to soldout audiences. The mayor then attempted to veto Out North’s city grant. Amid these challenges, Out North was awarded the National Freedom of Expression Award. At the New York ceremony Brause and Dugan met David White and leaned about NPN. “We realized we were not alone,” they recalled. “‘[hat has made all the difference.”

Out North has endured nine attempts from conservative groups to cut their funding over the years, has had public grants and contracts cancelled, and has lost more than S70,000 in corporate support. Brause and Dugan’s personal visibility as the plaintiffs in Alaska’s rightto-many challenge, and Out North’s NPN residency of XSIGHT! Performance Group, along with a neighborhood youth program, a feminist photo exhibit, and other work, led to sensationalized reactions from conservative elements in Anchorage.

Foiling the Mayor

While the mayor was asking “how can we get this organization out of our building?” Out North’s lease ran out. City officials offered the building to another nonprofit for $1, but rejected Out North on the same offer.

Then the mayor’s term ran out, and the new mayor, elected with a razor-thin margin, recognized that Out North had been treated unfairly. With the support of the chair of the city council, the process was set in motion last year to sell the building to Out North, with the final decision to be made by the city council on April 13, 2004. Parents and neighbors turned out in force to support Out North, and after two hours of testimony, the city council voted 7-3 in favor of selling the building to Out North for $1.

We Own It!

“For u while we were calling ourselves ‘artistic janitors’. Dugan said. He and Brause have done cleaning and maintenance as part of their routine far years. There are no plans to hire security. “If you’re in charge, you’re in charge,” Brause wholesale nba jerseys said. They want to invest another S900,000 to build a gallery and radio station, upgrade Grandview’s 99-seat black box theatre, and make other improvements.

Dugan said, “Elected officials have term limits. We don’t. We’ve outlasted our opponents

Jan Clifford

Mat Schwarzman Leaves NPN

I am leaving the NPN staff after three years with conflicting feelings you area hard hunch to / leave! — but I also have enormous excitement and anticipation regarding my next phase of work.

I took the job of Program Director in 2001 at a moment when, to be frank about it, t was in a state of spiritual crisis. A wonderful arts-based youth organization I had helped to start in Oakland had just gone through a horrible, protracted fight between founders, and I left the organization and the Bay Area not really sure what to do next.

Luckily for me, working for NPN turned out to be a powerful tonic. I got to collaborate with and support some incredible artists and organizations, including several that had been inspirations for me for decades. This includes Adora Dupree, who left our planet recently, and whose participation on the NPN Board in my early days was so important to me.

Administering the NPN Subsidy Programs has been a real joy because ¡ have been able to make the processes easier and more transparent for all who are part of NPN. At least I hope so!

I have had many, many gratifying moments while here: helping artists (like a former colleague Marc Bamuthi 2002 Joseph) receive their first NPN subsidies: helping NPN Partners (like Asian Arts Initiative and Everett) be supported for their work with young people; and the wonderful Annual, Regional and Artist Access meetings.

I think the most gratifying moment was at the Annual Meeting in Chicago, when my departure was announced, and numerous sighs and quiet ‘oh”s broke out spontaneously. I was left uncharacteristically silent.

What’s next for me? I will be focusing on my community-based arts education work through the “Building the Code” project, which is moving its primary sponsorship to Xavier University of Louisiana. My wife Mimi and I are now working together, and our plan is to distribute our first publication-an arts and social change guidebook for teachers, artists and youth leaders-in January 2005. After that, we plan to continue developing projects and publications around the country from our base in New Orleans.

Building the Code will continue to be involved with NPN and NPN Partners. I look forward to seeing you at the next Annual Meeting, when we will do another series of workshops. Plans are underway with several NPN Partners for projects. Other collaborations are possible, too!

Thanks to all the NPN Partners, Artists, Board and Staff, and please stay in touch!

Yours Truly,
Mat Schwarzman

Building the Code project
2514 Dauphine Street
New Orleans, LA 70117
(504) 941-5217

From the NPN Board of Directors

As my term as Board Chair closes, I think of all that NPN has been through in the past five years.

The organization has become independent of Dance Theatre Workshop and created its own independent identity.

The national office has moved from New York City to San Francisco to New Orleans. The budget rose, then fell, then rose again and finally reached a level of stability.

There were triumphant and tenuous times: even times when some thought NPN wouldn’t make it. But it did.

Through this incredible transition, the will and commitment of a large group of brilliant individuals pulled the organization through. The partners, the staff, the board and other colleagues have put in countless hours of hard work to keep the organization afloat. NPN is important to people. It is as simple as that.

It has been a great honor to serve as Chair of the NPN Board. I have traveled and met incredible people, developed relationships that will last my wholesale mlb jerseys entire life, and seen amazing work by artists, administrators, educators, and constituents. I am humbled arid awed. Thank you.

Steve Bailey

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
El Centro Su Teatro, Denver
Dance Place, Washington
Florida Dance Association, Miami Beach
Miami- Dade Community College
Tampa Bay Performing Arts Center/Hinks and Elaine Shimburg Playhouse, Tampa
Tigertale Productions, Miami
7 Stages, Atlanta
Dancers Collective of Atlanta, Inc
Legion Arts, Cedar Rapids
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
Bates Dance Festival, Lewiston
Center for Cultural Exchange, Portland
New WORLD Theater, Amherst
Theater Offensive, Cambridge
Liz Lerman Dance Exchange, Takoma Park
Walker Arts Center, Minneapolis
Myrna Loy Center/Helena Presents
St. Joseph’s Historic Foundation, Inc, Durham
Wagon Train Project, Lincoln
651 ARTS, Brooklyn
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
Portland Institute for Contemporary Arts, Portland
Asian Arts Initiative, Philadelphia
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, (MECA) Houston
South Dallas Cultural Center, Dallas
Woman & Their Work, Austin
Flynn Center for the Performing Arts, Burlington
On The Boards, Seattle
Pat Graney Co., Seattle
Alverno Presents, Milwaukee

Convergence of Artists, Educators and Organizers in New Orleans

A Convergence of Artists, Educators and Organizers was held in New Orleans, January 2325, 2004. NPN worked with the national organizing and the local host committees to provide logistical and infrastructure support, as did Tulane University, NPN Partner Junebug Productions, and the Douglass Community Coalition. More than 250 artists, educators and organizers came to New Orleans from across the U.S. to participate.

The inspiration for the Convergence came from a speech made by Grace Lee Boggs last October, at the Animating Democracy Initiative National Conference in Flint, Michigan. The 88-year-old activist from Detroit’s Boggs Institute put out a call to create new approaches and new ways of thinking to transform the relationship among arts, organizing and public education. This was a significant trigger for action, and the Convergence national organizing committee was formed at that conference. The committee’s intention was to create an opportunity for people doing similar work to identify common ground among activists working in the arts, education and community organizing.

The Convergence was organized on a volunteer basis with no registration fees, and everyone came “oil their own nickel.” A small travel subsidy pool was raised, and low-cost housing was available. A goal was to achieve participation by 50 percent people of color, 50 percent young people, and 50 percent women; these goals were pretty closely met. Several additional meetings also took place, including an Alternate ROOTS Resources for Social Change Workgroup meeting and a Youth Conference with students from New Orleans’ Douglass High School and M.U.G.A.B.E,E’s Algebra Project from Jackson, Mississippi.

Those who came brought different and equally pressing issues to the discussion, including voter registration efforts, environmental activism, education reform, and mitigating the negative effects of globalization -just to name a few. The emphasis was on getting artists, educators and organizers to move beyond their independent interests and collaborate to build a social justice movement.

To do this, we have to know one another, meet face to face, find those places where our work converges, and build on those places. Part of the process of the New Orleans Convergence identified activities and strategies in the next months, years and into the future, so that we can continue to build this movement.

NPN has made a commitment to building a local program that extends resources to our home community. Projects such as Mat Schwarzman’s Building the Code, and the Weaving the Web Project (, which worked with the Douglass Community Coalition, are building connections in the New Orleans community. The Convergence brought together and built on those projects, and has given its new relationships to continue forward.

Further information about the Convergence can be found on the CAN website, http//www. communityarts . net/readingroom/ archive/55no-reflections.php.

Over the next several months, NPN will create an archive of Convergence materials and maintain the attendee list serve.


New NPN Board Members Are Elected
The following are new NPN  Board members, voted into service at the March Board of Directors meeting in New Orleans:

Juan Berumen is Program Coordinator at La Peña Cultural Center in Berkeley, and is currently completing his MA in Latin American Studies from California State University.
Gayle Isa is founder and Executive Director of the Asian Arts Initiative, a community-based arts center that offers performances, exhibits, training, and discussion as a means of building the political and cultural voice of Philadelphia’s Asian American communities.
Cynthia Oliver is Assistant Professor of Dance at the University of Illinois, Urbana-Champaign. Oliver creates performance collages toward a porno-nouveau dance theatre.
Tony Tapia is Regional Program Director for the First Data Western Union Foundation. The Denver-based foundation finds education, health and human services globally. Tapia oversees funding for the western United States and Asia Pacific,

Weaving the Web of Community Interactive Report Now Online

National Performance Network has released an interactive online report oil its Weaving the Web of Community grassroots audience development project. The goal of the project was to demonstrate the tangible benefits of tying community residencies by touring performing artists (such as those hosted regularly by National Performance Network) to long-term, locally-based education and organizing efforts.

The report, developed by NPN Program Director Mat Schwarzman and cultural organizer Nilima Mwendo, chronicles the evolution and results of this New Orleans-based project and the work of a wide range of collaborating community organizations, including Douglass Community Coalition, Junebug Productions, Dog & Pony Theatre, Ashé Cultural Arts Center, the Contemporary Arts Center and National Performance Network. The entire report is posted at

The most significant outcome of Weaving the Web was a community-wide demonstration of the powerful synergy of art, education and organizing. Using only a small grant as seed money, over a dozen organizations pooled their time, energy and resources to a single, common goal, and in the process changed their notions about themselves and the process of social change. As one participant said in one of the dozen short video clips included in the report: “We learned one thing: all of us together are many times as powerful as any one of us, or any one type of its, are by ourselves.”

Weaving the Web collaborators developed audiences using a more holistic, participatory approach, rooted in the values and practices of “bottom-up” community organizing and collaboration between artists and arts organizations, educators, students, residents and activists for social change. Rather than arts organizations reaching “out” to potential audiences, Weaving the Web experimented with ways to support audiences reaching “in” to arts organizations and participating in the planning and development of their own community’s cultural life.

Peer Arts Service Organizations Meet in Chicago

In conjunction with the NPN Annual Meeting in Chicago this past November, NPN and the National Association of Artists’ Organizations (NAAO) organized a meeting of peer arts service organizations (PASO), The PASO groups, first convened by NAAO from 1996-1998, are the Alliance of Artists’ Communities, Alternate ROOTS, Asian American Arts Alliance, Association of Independent Video on and Filmmakers, AtlatI, National Alliance for Media Arts and Culture, National Association of Latino Arts and Culture, NPN, National Association of Artists’ Organizations, Network of Cultural Centers of Color, and The Association of American Cultures. All but Atlatl attended the meeting.

We outlined focus points, using alliances (race, age) to change the cultural hegemony. We called this EMPOWERED DIVERSITY and NATIONAL ORGANIZING, a strategy to build cross-cultural coalitions and greater influence at policy tables of all descriptions.

PASO’s areas of common interest are:
*ARTISTS: Supporting independent artists
*JUSTICE AND EQUITY: Taking a stand against injustice and for a vision of change
*VISIONARY LEADERSHIP: Articulating a vision and putting it into action, developing leadership within marginalized and underrepresented communities
*CAPACITY. Capacity building for PASO
*CIVIC ENGAGEMENT AND RIGHTS: Organizing for freedom of expression, assembly, and community empowerment
*EQUITABLE RESOURCES: Working for an equitable distribution of resources
*INTERNATIONAL EXCHANGE: Toward internationalism, combating globalization
*MEDIA POLICY: Influencing media ownership and telecommunications policy

NPN provided fiscal sponsorship for the PASO meeting, which was supported by the Albert A. List Foundation.

Lisa Mount, NAAO Project Director

NPN Welcomes New NPN Partners

In 2003 and 2004, the NPN Partner Committee accepted new NPN Partners to the network. Careful thought was given to the selection process. Factors such as region, discipline, history, and budget size were considered.

New NPN Partners begin using subsidy programs through a staggered eligibility process, which ensures that they have been appropriately oriented to NPN and have the capacity to fully use the programs.

These NPN Partners became eligible for subsidies on July I, 2004:
Afro-American Cultural Center– Charlotte, NC
Contemporary Arts Center– New Orleans,
LA Gala Hispanic Theatre– Washington, DC
MACLA/Movimiento de Arte y Cultura Latino Americana– San Jose,
CA Museum of Contemporary Art– Chicago, IL
Youth Speaks– San Francisco

These NPN Partners will become eligible for subsidies on July 1,2005:
Ashé Cultural Arts Center– New Orleans, LA
Pangea World Theater– Minneapolis, MN

These NPN Partners were accepted in 2003, but became eligible for subsidies on July 1,2004:
7 Stages– Atlanta, GA
Center for Cultural Exchange– Portland, Maine
Portland Institute for Contemporary Arts– Portland, Oregon
South Dallas Cultural Center– Dallas. TX

Regional Desks 2004

Regional meetings promote discussions and activities that reinforce NPN Partners’ common interests, and channel information from the field onto cultural policy tables across the United States. Regional Meetings also give NPN Partners opportunities to meet face-to-face and build relationships.

Regional Desk representatives are Asimina Chremos (Midwest), Therese Jungels (Northeast), Sixto Wagan (Smith), and Lane Czaplinsky (West).

Artists Access events the day before Regional Meetings provide local artists with information about NPN Partners and artists touring. When possible, Regional Meetings are scheduled when NPN Partners can attend performances in the host community.

Agenda topics include a discussion of NPN’s role and goals regarding NPN Partners’ presenting, producing, commissioning, and subsidies, and also issues related to partnerships. Meetings also include “Projects In the Works” and identifying conversation to be carried over to the Annual Meeting and the host community for next year.

The Northeast Region met in Philadelphia in April, hosted by Asian Arts Initiative and the Painted Bride. In May, the Midwest convened in Columbus, hosted by King Arts Complex and the Wexner Center. The South met in Miami Beach in June, hosted by the Florida Dance Association, Miami Dade College Office of Cultural Affairs, and Tigertail Productions. The West will meet in Portland in September, during PICA’s Time-Based Art Festival.

Performing Americas Project

Here’s the latest news on the Latin American Performing Americas artists who will be touring the NPN this fall. Justo Rufino Garay theater company from Nicaragua will tour the United States with La Casa de Rigoberta Mira al Sur. They will perform at Guadalupe Cultural Arts Center in San Antonio, Texas; 7 Stages Theater in Atlanta, Georgia; and New WORLD Theater in Amherst, MA. El Chonchón, a puppet theater company from Argentina, will tour Juan Romeo y Maria Julieta; NPN presenters include Tampa Bay Performing Arts Center in Tampa Bay, Florida; DiverseWorks in Houston, Texas; and the Flynn Center cheap nfl jerseys in Burlington, Vermont.

The third 2005 Latin American Performing Americas artist is expected to be Cristina Moura, a dancer from Brazil. Tigertail in Miami, Florida, and Highways in Santa Monica, California, will both present Cristina. We are looking for a third NPN Partner to present her as well please let us know if you’re a presenter interesting in receiving information on Cristina Moura!

The 2005 NPN Performing Americas curatorial panel will travel to a theater festival in Colombia the first week of April to select the 2005-2006 Performing Americas artists. The makeup of the panel is being finalized and will be announced soon.

The U.S. artists to tour La Red in Latin America include Packard/Bridgeman, who will be traveling to Central America this summer, and Jon Jasperse, who will tour the Chilean/Southern Cone region in January 2005.

Ariana Hall

The Performing Americas Project is a partnership between La Red (Red de Promomteres Culturales Latinoamerica y el Caribe) Arts International, and NPN, created to created to facilitate the exchange of con temporary performing arts in the context of community engagement within the Americas and the Caribbean.