National Performance Network > E-Newsletters > E-Newsletter / Volume 9 / Fall 2004

E-Newsletter / Volume 9 / Fall 2004

Posted: Thursday, September 2nd, 2004 at 4:30 pm in E-Newsletters

Click here for PDF version.

National Performance Network
Volume 9/Fall 2004

NPN Annual Meeting ’04:
20 Years and Counting

While google-searching 1985, the year NPN was founded, I was reminded that Ronald Reagan and George Bush were both in the White House, Madonna launched her Virgin Tour, Amadeus won best picture, Martina Navratilova beat C. Evert Lloyd, and Tina Turner won best record of the year with What’s Love Got to Do With It?  Fingerless gloves and Don Johnson were “in.”

Since its inception in 1985, NPN has convened 20 Annual Meetings (sometimes twice in one year) and developed the event as one of its hallmark networking strategies for the performing arts field. In the spirit of celebration, the 20th Annual Meeting will contextualize workshops, panels and activities within NPN’s history, while also looking at the organization’s future.

New Works Contemporary Performances

At this year’s Meeting, we will present three “New Works” public performance evenings to showcase selected Creation Fund recipients and Los Angeles area artists.  These evening performances range from spoken word to dance to comedy to circus theatrics and should not be missed!  Please make sure to get the word out to colleagues and friends in the L.A. area.  Tickets for non-Meeting attendants are $15 and may be purchased through The George & Sakaye Aratani Japan America Theatre (AJAT) at 213/680-3700:

Saturday December 4
Bill Santiago, San Francisco; Letta Neely, Jamaica Plain, MA; Everett Dance Theatre, Providence, RI
Sunday December 5
L. A. Artists: Black Stuff, Eye of Newt, Hae Kyung Lee & Dancers, Victoria Marks, Herbert Siguenza, Denise Uyehara.
Monday December 6
Deeply Rooted, Chicago; Peter DiMuro, Takoma Park, MD; Marc Bamuthi Joseph, Oakland;


National Performance Network
225 Baronne Street, Suite 1712
New Orleans, LA 70112
Phone: 504.595.8008 Fax: 504.595.8006
info@npnweb.org www.npnweb.org

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.

NPN is supported by

The Doris Duke Charitable Foundation
The Ford Foundation
The National Endowment for the Arts
The Nathan Cummings Foundation
The Rockefeller Foundation
Altria Group, Inc.
The Louisiana Division of the Arts
The Arts Council of New Orleans
Arts International

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
Bryan J. Graham – IT/Designer


From the National Desk
New Orleans, LA

Wow.  The 20th NPN Annual Meeting.  Time sure flies.  I remember that small conference room in Minneapolis….  No.  This is not a trip down memory lane.

We’re looking forward to this upcoming meeting in Los Angeles, (this is the first time NPN has been there). Once again NPN Partners, artists supported by NPN’s subsidy programs, La Red representatives, Los Angeles area artists, and colleagues from around the US are meeting to further acquaint ourselves with one another and strengthen our network of relationships.  And for the first time this year the Network of Cultural Centers of Color (NCCC) is holding a member’s meeting with us.  We welcome you all.

Also in this revamped and expanded issue of the NPN newsletter is an article by Nejla Yatkin taken from her final report of her tour to Brazil through NPN’s Performing Americas program.   As many NPN Partners know, the development of Performing Americas has presented many opportunities and challenges, so it is great to have an artist’s perspective.  Nejla’s work was presented as part of the Washington DC artist’s showcase at the 18th NPN Annual Meeting, and that was where her company was chosen to participate in Performing Americas.

In this issue The Crucible article reports on the Art and Democracy conference that was held in conjunction with RFK in EKY.  This was a real time, real place reenactment, under the direction of John Malpede (Los Angeles Poverty Department, LAPD), to explore the effects of the “war on poverty” in one of the country’s most distinctive yet marginalized regions. RFK in EKY was meant to present an historic moment, then hold a mirror to it and ask participants to join the discussion, exploring what’s true, and what’s happened in our relationships to government, community, and each other since Kennedy came.  It was a multi-day, site specific performance that re-created Robert F. Kennedy’s tour of Eastern Kentucky during the war on poverty, which was when Appalshop was founded.

Finally, there is an article I wrote for the Fall 2004 issue of the Dance/USA Journal, an issue titled, “Why Dance?”  I’ll be interested to hear responses to the article, so please let me know what you think.

MK Wegmann
President and CEO


The Real Brazil
Performing Americas Project 2004
by Nejla Y. Yatkin – NY2Dance

When I received the call in the spring of 2003 that I was one of the artists selected to tour Brazil under the “Performing Americas Project,” I was very excited. I very much respected the organizations involved, had several pieces I wanted to tour, and had always wanted to go to Latin America (Brazil in particular), rich as it is in history and diversity. My experience of the tour was surprising—both in its challenges and in the amazing feelings it gave me about connecting with the “real” Brazil.

The initial idea for the tour was that I would perform in at least three or four theaters, as well as engage in some residency activities at the Festival in Londrina, the Cultural Forum in Sao Paulo, and in some other cities throughout Brazil. However, due to communication and scheduling difficulties with the first presenter on the project, along with problems getting visas, many of the initial plans had to be cancelled. When Renata Petroni of Arts International stepped in more directly, things began to go much more smoothly. Three weeks before the tour, we were connected with another presenter in Brazil, Nitis Jacon.

Ms. Jacon was great; indeed, without her there would have been no tour at all. In a matter of days I had three venues and three cities set up with host organizations, performance dates, workshop dates, studio space, transportation, technical support, and kindness. Unfortunately, I was not able to present at the Londrina Festival, and because there was not enough time to acquire access to larger venues, the circumstances at the theaters we performed at were not always ideal. Nevertheless, we were able to move forward. On June 3, 2004, one week after our scheduled departure date, we finally arrived in Sao Paolo, caught a plane to Curitiba, and met our hosts, as well as our tour manager and translator Marisa De Leon (whose contributions where outstanding). Needless to say, we were exhausted but also exhilarated.

Curitiba
In Curitiba, a mid-size city, the programs were exceptional, the kindness that we were extended was heartfelt, and the venue was very nice (the new facility at the Oscar Niemeyer Museum). However, because this stage was used primarily for conferences, it did not have proper equipment for dance. Indeed, I was the first one to perform at this venue, which revealed many limitations. For example, the lighting board that they had did not work with the lighting circuitry in the theatre. Up until two hours before the show there was no lighting. I had no tech rehearsal, and I danced half of the show in the dark. The second day we pared back our lighting requirements, working with what was available so that I could have some light on stage, although the vibrant lighting of the show was not possible.

In addition to performing, I taught a workshop for the second company of Theatro Guaira. This company was comprised of experienced dancers and it was very interesting to work with them. Indeed, at the end of the class, we all wished that we had more time for a deeper exchange. During my stay, I also had a couple of interviews for radio and TV (which would be the most extensive media interaction I had on the tour). The questions asked were very interesting and it made me think of people’s expectations for art as well as my own position as an artist. For example, I was asked if my “performance was going to change someone’s life.”  Initially, I thought that to answer affirmatively would be very self indulgent. I am not here to change someone’s life, I thought. That is a big responsibility. “I am here to facilitate thought and reflection, inspiration and communication and alternative ways of expression, but not life-changing,” I answered. I keep returning to these questions in my head to this day.

Campo Mourao
After three days in Curitiba, we drove for seven hours to Campo Mourao, a smaller city. Upon arrival I was immediately struck with the thought, “this is not the Brazil I had in mind.” The town reminded me of a small town in Germany. Things got even more unexpected when we stayed in an old Italian hotel, dined in a Dutch Pizzeria, and found ourselves in Brazil listening to Britney Spears.

The first day, I gave a workshop to one of the schools. The level of the class was very diverse; I had everything from professionals to beginners. I only had two hours with the group but somehow we managed to get everybody to the same level by the end. The theatre in Campo Mourao was much better equipped for my performance. Although the lighting was limited, we still had enough to set up the basic cues. As a result, the show went quite well overall. In this theater the audience was very enthusiastic about the performance, and we did an extensive Q&A after the show. The questions were very thoughtful and interesting.

One amazing but untapped aspect of Campo Mourao was the fact that they had a professional dance company called Verve. I understand that this is a major reason why Ms. Jacon selected this location. Unfortunately, I did not have any time to work with Verve and actually did not know they existed until I was there. As luck would have it, several members of the company came to both my workshop and show but we did not have nearly enough time. On the spot, we all tried to figure out some way that I could come back and work with them for a longer residency.

Jacarezinho
After three days in Campo Mourao, we were on our way to Jacarezinho. This place was very different from the others in that it was more like a village. Jacarezinho had one theatre, one church, one cinema, and essentially one street to shop in. The theatre was nice but, again, I was not able to set up my full program. In particular, the lighting was limited and the crew was quite small. Although I was not able to perform one of the works that was originally scheduled, I had a back-up piece which did not require a lot of technical assistance.

Again, the performance was very well received; I had a standing ovation and great responses. The workshop was very moving. I had dancers attend from surrounding villages (who had come via a bus provided by the theater). Again, they were interested in obtaining a longer residency. It would be great to develop long-term partnerships that emerge from, but extend beyond, the Performing Americas Project; some of the places I went seemed as if they did not experience any art at all. It would be worthwhile if all artists affiliated with the project could have contact with these locales in the future.

In Conclusion
In many ways, I have a love-hate relationship with my experience on the tour. Everything from the hotels to the theatres to the promotion of the event was a challenge. But the nicest thing about the tour was that I felt like I was bringing art to the people of Brazil. I felt like I was going to places where artists usually don’t appear, where they don’t get invited or don’t really want to go. I was caught on this one: as an artist you want your work to be seen, experienced, reviewed, and to have some resonance. Toward this end, we frequently focus on festivals, major theaters, and large cities—and for very good reasons.

But just seeing the expressions of the children after my workshops and performances was worth the trip. The people seemed to really get something out of the exposure to dance as an art form. In fact, they all seemed surprised about our coming to their town. Even the people on the radio who interviewed me were surprised. Almost as if perceiving themselves unworthy of this type of attention from the art world, they kept asking me, “But why would you come here?”  “Why not?” I kept saying. “Your city is beautiful, your theater is beautiful, the people here are full of life and art is all about celebration, experience, expression and beauty—it is a natural fit.”  It was an honor to perform in such an environment.

Of course, I would still love to dance at the larger venues and in the festivals; there is nothing quite like dancing with and for individuals who completely understand what you are trying to do. In many respects, this is what artists work for. Nevertheless, I was touched by the unexpected aspect of the tour. In fact, I felt like I did not dance at all in the Brazil of artists, elites, and those accustomed to modern dance. Rather, I felt like I danced in Brazil for the Brazilians frequently ignored by artists, elites, and those accustomed to modern dance—and this has made all the difference.


THE CRUCIBLE
This ongoing column highlights stories of interest about NPN Partners

From September 8-12, 2004, NPN Partner Appalshop (Whitesburg, KY) hosted two complementary events: the RFK in EKY reenactment of Robert Kennedy’s 1968 tour, and the subsequent Art & Democracy conference. NPN staff member Jon Pult attended the conference and shares some meditations below.

Some of the images in Herb Smith’s film “Thoughts in the Presence of Fear” were almost numbing in their serenity. A leaf moving gently in a stream, for example. But paired with the voice-over—the writer Wendell Berry reading from his essay of the same name—these images had all the serenity of a right hook…

XVII. And surely, in our country, under our Constitution, it is a fundamental error to suppose that any crisis or emergency can justify any form of political oppression. Since September 11, far too many public voices have presumed to “speak for us” in saying that Americans will gladly accept a reduction of freedom in exchange for greater “security.” Some would, maybe. But some others would accept a reduction in security (and in global trade) far more willingly than they would accept any abridgement of our Constitutional rights.

“Thoughts in the Presence of Fear” was screened as a work-in-progress at Appalshop’s recent conference Art & Democracy: The American Festival Project National Gathering of Artists & Activists. Artists, organizers, activists, and ordinary citizens came together for two days and, in many ways and on many topics, exercised that precious Constitutional right of speaking for themselves.

These conversations served as useful adjuncts to John Malpede’s RFK in EKY: The Robert F. Kennedy Performance Project, a real time site-specific re-creation of Kennedy’s 1968 visit to Eastern Kentucky. From September 8 to 11, RFK in EKY meandered through the mountains of Appalachia, retracing the steps and conjuring events in towns such as Vortex, Hazard, and Neon. RFK in EKY, which benefited from NPN support, was designed to “help people understand and discuss their connections to historic events, and to recognize their potential to participate in and shape the ‘history of the present’.”
The historic event that inspired Wendell Berry’s “Thoughts” was the attack on the World Trade Center of September 11, 2001. Berry’s essay (which can be found online through a simple Google search) is presented in 27 terse paragraphs that are all too prescient in light of the events of the ensuing three years. “Thoughts on the Presence of Fear,” in fact, serves as a fitting emblem for all of the work presented as part of Art & Democracy.

VI. The paramount doctrine of the economic and technological euphoria of recent decades has been that everything depends on innovation. . . . This of course implied at every point a hatred of the past, of all things inherited and free. All things superseded in our progress of innovations, whatever their value might have been, were discounted as of no value at all.

The most heartening session at Art & Democracy was also the most straightforwardly titled: “Youth & Art.” Both of the panelists, young artists/activists/poets Stacie Sexton and Rose Simpson, were affected by notions of innovation: human innovation and community innovation. Their work engages the tension between the desire to separate themselves from their heritage and the terrible consequences of abandoning the history bequeathed to them.

Sexton, a native of the area, is the granddaughter of legendary banjoist Lee Sexton. Her late father was also an accomplished musician. As a “Sexton” in her community there was an expectation that she was a musician. She wasn’t. Sexton initially rebelled, but then with a sense of pride and duty took up the banjo. She tells this story in the film she made at Appalshop (co-produced with Machlyn Blair, another young artist) called “Banjo Pickin’ Girl.” It’s a lovely and moving piece about her struggle with trying to carry on her family’s (and community’s) musical heritage.

“Youth & Art” was set up for these young women to “present their own reality.” After Sexton did that deftly through the use of film, Rose Simpson presented hers through a sort of monologue that seemed off the cuff, but was so winning one wasn’t sure if it might not be a well rehearsed solo performance. She spoke of her interesting background, half Native American and half Caucasian, and how she grew up living primarily on the Santa Clara Pueblo Reservation in New Mexico as well as with her father’s family in Albuquerque. This tension informs much of her work, she said, which includes poetry, mural art, and performances in the New Mexican underground Hip Hop scene. While she always had the dream “to be sophisticated, to put on a dress, live in the city, drink champagne, and discuss independent film,” she has embraced her past. Part of that embrace is being one of only five young people from her tribe to learn its native language. She seems to be creating her own artistic one.

XXIII. We must not again allow public emotion or the public media to caricature our enemies. If our enemies are now to be some nations of Islam, then we should undertake to know those enemies. Our schools should begin to teach the histories, cultures, arts, and language of the Islamic nations. And our leaders should have the humility and the wisdom to ask the reasons some of those people have for hating us.

The screening of “Thoughts in the Presence of Fear” was part of the opening plenary on the second day of the Art & Democracy gathering. Immediately afterward, the film was used as a point of departure for a “cross-cultural dialogue,” beginning with reflections by theater director Uday Joshi  (formerly of New WORLD Theater) on being Arab-American in a post 9/11 world, as well as on his life as a man named Uday during America’s war on Iraq. Uday Joshi’s story was a jumping off point for other testimonies to our present moment, and to other moments in our history that have been fraught with

Joshi’s story of willful ignorance and discrimination resonates particularly well with Wendell Berry’s warning about such callousness in times like these:
XIV. This is why the substitution of rhetoric for thought, always a temptation in a national crisis, must be resisted by officials and citizens alike. . .
Indeed, this seems to have been the task that all of the participants at Art & Democracy assigned to themselves. Resist they did.


Analyzing the State of Dance
by MK Wegmann

This article was originally printed in the Fall 2004 issue of the Dance/USA Journal. A slightly revised version appears below.

An analysis of the data collected for the recent Urban Institute report “Investing in Creativity” (www.usartistsreport.org) reveals that the field of dance is less well supported with funding and resources than any other performing arts discipline except performance art. Why is this so? Is dance less relevant than other forms of performance? At the recent Alternate ROOTS Annual Meeting and the Women’s Working Group, I sat down with a group of dance artists and administrators to explore these questions.
A number of reasons can be offered as to why dance is more relevant than ever:

Globalization
As world cultures become global, and we seek to share our cultures and understand one another better, dance can help us all shift our worldview. Dance is virtually universal as a means of expression and, because it is generally nonverbal, presents few translation barriers. Dance can thrive as a form that transcends language. The body is a universal common denominator.

Preserving Cultures
In many isolated cultures, dance is the traditional means of preserving rituals, traditions, and history. Like storytelling and oral traditions, dance is a way in which cultures maintain their identity. As the world shrinks, the preservation of dance that represents a culture is vital.

Learning
If we accept that one of the values of dance is its role as a form of communication and mutual learning—experiencing the transformative moment—response at the kinesthetic level is primary. Dance offers room for questions that reflect back to the viewer (not unlike the visual arts). Dancers who work with young people tell us that many children self-identify as kinesthetic learners, reinforcing dance as a key element in helping learning take place.

Hip Hop
New forms such as Hip Hop incorporate dance, spoken word, and music. Hip Hop is thriving and attracting audiences, especially young audiences, everywhere. Hip Hop moves back and forth along the continuum that represents the commercial, community, and fine arts worlds.

The question of relevance is one that can be asked of any form of contemporary artistic expression, so rather than discussing why dance is relevant, we should ask what makes dance (primarily concert dance) seem irrelevant? This question leads to a discussion of the ways in which dance, as it has been organized in the U.S.A., is shorting itself. One of the long-standing criticisms of much contemporary art (not just dance) is its separation from the day-to-day life of the community. It’s a familiar refrain: “in other cultures, the arts are integrated into people’s lives.”

It is not dance as a means of creative expression that has lost relevance; rather, it is the way dance functions organizationally that makes it seem less relevant today. Pat Graney posits that “modern dance is stuck in the patronage system, and has never become community-based.”  And that, indeed, is a fair assessment of where some of the problems lie.

“Community-based” is a charged phrase: it can have negative connotations of poor quality (lack of rigor and “professional standards”) and is often so broadly applied as to be meaningless. In this context, I offer a definition of community-based which anchors artists and their creative process in close alignment with their community—be it a community in a physical place, a community of tradition, or a community of identity, belief, or political action. My definition implies a reciprocity of relationship, a circular dialogue, among those creating and those experiencing the artistic process. In practical terms, it means that the members of a dance company actively participate in the life of their community and are integral to it. Community engagement and the creative process serve one another. The work on the stage connects to the audience, whether the form of the dance is abstract, classical, modern or postmodern, traditional or experimental.

It may be the ways in which modern and postmodern dance have been institutionalized in the nonprofit arts sector that have raised barriers to its relevance for audiences and communities. It is clear that many parts of the dance field are in distress. Touring is down, and many subsidies that provided major sustenance for presenters are severely reduced or have disappeared altogether. The National Performance Network (NPN) and the National Dance Project (NDP) are the only two national structures providing systematic and ongoing support for the creation and touring of new dance. More and more, company structures are simply unsustainable, and choreographers are working project-to-project rather than trying to keep an organization alive.

Mid-career artists are wondering how they can survive in the field. It is harder than ever for emerging artists working outside of the dominant cultural centers to gain recognition beyond their local region. There is a disproportionate survival rate for companies led by men in a field dominated by women. Race and class issues continue to concern everyone.

What are the institutional shortcomings that need to be addressed to make dance seem relevant? What are the characteristics of the “patronage system” that are posing problems?

Over-reliance on touring as a model for support and visibility for a dance company. This over-reliance means that opportunities for the company’s home community to experience and support the company’s work are fewer. It also means that dance organizations are less likely to have assets, such as owning or controlling their own facility, or memberships and support groups that provide valuable volunteers and a core audience base. How can your community know you if you hardly ever perform at home?

A hierarchy of dance that places the eponymous choreographer as the sole source of creativity and identity for a company. Unlike ensembles in the theater world, which are by definition collaborative, the idea of dancers, designers, or musicians as co-creators is not structurally part of modern and postmodern dance. Of course there are a number of companies that do not follow this model, but they are the exception.  (See Clive Barnes’ article, “Is This Crisis Critical?” in the February 2001 issue of Dance Magazine.)

The board-driven model for nonprofit arts organizations, which reinforces patriarchal and supplicant relationships and a corporate business model. This structure is fraught with problems for many nonprofit arts organizations, but nevertheless poses many problems specific to dance. The energy required to nurture and maintain a healthy board that follows the accepted model is enormously draining on understaffed dance companies, and perpetuates the entitlement mentality in resource development.

Aesthetic rigidity, which raises walls between the different genres of dance and between dance and other artistic disciplines. Why are dance and theater seen as so different? Hip Hop is in direct contrast to this rigid separation, not only because it often incorporates many different disciplines (as traditionally understood) but because it absorbs and appreciates traditional and vernacular forms, as does tap, for example. When dance is codified in a language that is unfamiliar to its audience, it loses connection. Loosening the lines separating dance genres, opening up a more direct vernacular connection, and letting other “disciplines” be present can create more opportunities for dance to be relevant to audiences and communities. (This is not to say that dance forms and traditions should not be kept alive and presented to the public. Museums are important for cultural preservation and education.)

There are, of course, other barriers that have long plagued the presentation of dance (such as lingering puritanism in U.S. culture which cannot see a woman’s body as other than sexual, or audience perceptions that dance is an elite art form that does not speak to them). But these kinds of factors affect all arts disciplines, and are not always unique to dance.

Many contemporary dance artists are addressing the concerns outlined above. Moving in the Spirit, a youth-oriented dance organization in Atlanta, Georgia, has reorganized its company to support creative projects by all its company members, rather than the singular vision of its artistic director. Debra Hay has thrived as an experimental dance artist in Austin, TX. Olive Dance Theater, a Hip Hop company from Philadelphia, tours under the rubrics of dance and theater. Celeste Miller’s holistic integration of her education work into her performance is influencing emerging companies such as Clancyworks in Washington, DC. Postmodern pioneer Blondell Cummings is working in museums as well as theaters. These are just a few examples of the new thinking that is driving dance artists as they anchor themselves in their communities, proving that their work is relevant and holds intrinsic value.

Ideas were contributed to this article from the 2004 Alternate ROOTS Annual Meeting and Women’s Working Group, 2004, by: Stephen Clapp, Dance Place; Laura Schandelmeier, The Field, DC; Deborah Karp, independent artist; Jamie Merwin, Olive Dance Theater; Ellen Zisholtz, Creative Partnerships; Adrienne Clancy, Clancyworks; Chris Doerflinger, Elder Dance Express; Celeste Miller, independent artist; Dana Phelps Marschalk, Moving in the Spirit (ROOTS). Also Carla Peterson, Movement Research; Ellen Bromberg, University of Utah; Blondell Cummings, Cycle Arts Foundation; Pat Graney, Pat Graney Co.; Sandra Gibson, Association of Performing Arts Presenters; Diane Rodriguez, Mark Taper Forum’s Latino Theatre Lab; Loris Bradley, Independent Consultant (WWG); and June Wilson, NPN.


NPN20 Annual Meeting in Los Angeles
Your Quick Guide to Event Times & Places

Bursts of Art
The ArtBurst is an excellent Annual Meeting tradition.  Short performances scheduled at different moments throughout the proceedings, ArtBursts gives selected artists 5–8 minutes to “strut their stuff.”  This year’s ArtBurst-ers include: Danielle Brazell, Los Angeles; Teo Castellenos, Miami Beach; Jose Ruben De Leon, San Antonio; Paul Flores, San Francisco; Hijack, Minneapolis; Kate Rigg, Los Angeles; and John Santos, Oakland.

Workshops, Panels and Presentations
We have a great line-up of workshops, panels and presentations that promise to be informative, enlightening and controversial:

  • Raising Funds To Support The Creative Process
  • Training Community-Based Artists:  “Building The Code”
  • Creation Fund Case Studies
  • Multiculturalism: Beyond Diversity
  • The Fifth Element: Hip Hop Knowledge & Activism
  • Finding Success In Leadership Succession
  • “Is It Something I Said?” Cultural Missed–Steps & Missed–Takes
  • Creative Entrepreneurship: Using Your Imagination To Support The Creative Process

An additional group of Artist-Focused professional development workshops will take place on December 6.  The workshops were developed from artist suggestions and with the consulting expertise of the Center for Cultural Innovation (www.cci2002.org).

NPN’s 20th Annual Meeting activities and hotel accommodations are conveniently located in the heart of Little Tokyo, and are only about 5 minutes from each other. There are plenty of noodle shops, cafes, bookstores and gift stores to keep you busy between sessions!  Plan on being excited by meeting content, stimulated by good conversations, and blown away by great performances.

Here is a shortcut to scheduled activities—you will receive a more detailed schedule in your materials.  Please remember: all activities and times are subject to change.

Friday December 3 – Tuesday December 7, 2004
Japanese American Cultural & Community Center (JACCC) unless noted
Please check www.npnweb.org, for more details.

Friday, December 3:
3:30 pm: NPN 101 – time for new and seasoned NPN Partners to ask questions
3:30 pm: NPN Artist Access 101– time for local artists to find out about NPN
5:30 pm: Opening Reception & Celebration, featuring the John Santos-Ramon Banda Latin Jazz Quartet

Saturday, December 4:
9:30 am: Welcome & Introductions
11:00 am: Keynote Speaker: Tim Miller, performer, teacher, activist, writer
NOON: NPN Special Interest Breakouts.
2:15 pm: “What’s New in Cultural Policy?” Panel & Response
8:30 pm: “New Works” Evening of Performance featuring NPN Creation Fund Recipients (open to the public)

Sunday, December 5:
9:30 am: Media Showcase, featuring Northeast & Midwest regions, at REDCAT
(The Roy and Edna Disney/CalArts Theater)
12:30 pm: Regional Meetings (all attendees invited).
3:00 pm: “In the Works #1” – Artists, NPN Partners, Colleagues present New Projects in 2-3 minutes
4:15 pm: Workshops
8:30 pm: “New Works” Evening of Performance featuring Los Angeles Artists (open to the public)

Monday, December 6
9:30 am: “In the Works #2” – Artists, NPN Partners, Colleagues present New Projects in 2-3 minutes
10:45 am: NPN Partners Business Meeting & Regional Meeting (NPN Partners only)
10:45 am: Professional Development Workshops for Artists (colleagues welcome)
3:00 pm: Workshops
5:30 pm: Dinner Rally & Keynote Speaker (TBD)
8:30 pm: “New Works” Evening of Performance featuring NPN Creation Fund Recipients (open to the public)


Summer 2004
Community Fund Awards

Center for Cultural Exchange – $5,822
This project will create audio and video portraits of refugee teenagers participating in a weeklong residency of Bi-Okoto Drum and Dance Theater, exploring issues of cultural dislocation and personal connection to heritage. The resulting video and audio pieces will be broadcast locally.

DiverseWorks Art Space –  $6,000
Elia is coming to Houston and San Antonio to interview veterans and other support personnel for research and documentation for The Fifth Commandment to premiere in June ’05. The extended planning/research residency will also expand upon current relationships and foster new collaborations between Houston organizations, and with residents/organizations in San Antonio.

La Peña Cultural Center – $6,000
We will video Teatro Luna residency activities and their performance and participation in La Peña’ Hecho en Califas Festival and Next Generation summit. We will make a promotional video about Teatro Luna’s work for their use and to place in the artist directory on La Pena’s website. We will also make a 15 – 20 minute video documentary about the Festival and summit.

Tigertail Productions – $6,000
Tigertail Productions is requesting support to expand the community outreach of danceable to Veterans with disabilities. It will be structured around a residency with noted choreographer Victoria marks. This project is timely as it not only fits into danceable and the expansion of services to persons with disabilities, it also brings attention to Veterans from past wars and the current Iraqi War.


NPN Summer 2004
Creation Fund Awards

Afro-American Cultural Center and Roddey Foundation  $9,000
Life As Art Production
Gnaw Bones

Dance Theater Workshop, and Flynn Center for the Performing Arts  $9,000
Cathy Weis
Electric Haiku 2 (working title) 

Myrna Loy Center/Helena Presents, Dance Theater Workshop and PICA $11,000
Jennifer Monson
Flight of the Mind

On the Boards, and UC Riverside  $9,000
KT Niehoff, Lingo dancetheater
Relatively Real

Out North Contemporary Art House and Theater Offensive  $10,000
Five Lesbian Brothers
Oedipus at Palm Springs

Youth Speaks, El Centro Su Teatro, Xicanindio Artes, and MECA  $13,000
Chicano Messengers of Spoken Word
Fear of a Brown Planet


NPN PARTNERS
ALASKA
Out North Contemporary Art House, Anchorage
ARIZONA
Xicanindio Artes, Inc. Mesa
CALIFORNIA
Elai Arce, Joshua Tree
Cultural Odyssey, San Fransisco
Highways Performance Space, Santa Monica
La Peña Cultural Center, Berkley
MACLA / Movimiento de Arte y Cultura Latino Americana
Youth Speaks, San Francisco
COLORADO
El Centro Su Teatro, Denver
DISTRICT OF COLUMBIA
Dance Place, Washington
GALA Hispanic Theatre
FLORIDA
Florida Dance Association, Miami Beach
Miami- Dade Community College
Tampa Bay Performing Arts Center/Hinks and Elaine Shimburg Playhouse, Tampa
Tigertale Productions, Miami
GEORGIA
7 Stages, Atlanta
IOWA
Legion Arts, Cedar Rapids
ILLINOIS
Office of Community Arts Partnerships, Columbia College Chicago
Links Hall, Chicago
Museum of Contemporary Art, Chicago
KENTUCKY
Appalshop/American Festival Project, Whitesburg
LOUISIANA
Ashé Cultural Arts Center / Efforts of Grace, Inc., New Orleans
Contemporary Arts Center, New Orleans
Junebug Productions Inc., New Orleans
MAINE
Bates Dance Festival, Lewiston
Center for Cultural Exchange, Portland
MASSACHUSETTS
New WORLD Theater, Amherst
Theater Offensive, Cambridge
MARYLAND
Liz Lerman Dance Exchange, Takoma Park
MINNESOTA
Pangea World Theater, Minneapolis
Walker Art Center, Minneapolis
MONTANA
Myrna Loy Center/Helena Presents
NORTH CAROLINA
Afro-American Cultural Center, Charlotte
St. Joseph’s Historic Foundation, Inc., Durham
NEW YORK
651 ARTS, Brooklyn
Dance Theater Workshop, New York
Performance Space 122(P.S. 122) New York
Pregones Theatre, Bronx
OHIO
Contemporary Dance Theater, Inc, Cincinnati
Martin Luther King, Jr. Cultural and Performing Arts Center, Columbus
Wexner Center for the Arts, Columbus
OREGON
Portland Institute for Contemporary Arts, Portland
PENNSYLVANIA
Asian Arts Initiative, Philadelphia
Painted Bride Art Center, Philadelphia
RHODE ISLAND
Everett Dance Theatre, Providence
TENNESSEE
The Carpetbag Theater, Inc, Knoxville
TEXAS
Carver Community Cultural Center, San Antonio
Dance Umbrella, Austin
DiverseWorks, Houston
Guadalupe Cultural Arts Center, San Antonio
Jump-Start Performance Co., San Antonio
Kuumba House Inc., Houston
Multicultural Education and Counseling through the Arts (MECA), Houston
South Dallas Cultural Center, Dallas
Women & Their Work, Austin
VERMONT
Flynn Center for the Performing Arts, Burlington
WASHINGTON
On The Boards, Seattle
Pat Graney Co., Seattle
WISCONSIN
Alverno Presents, Milwaukee