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Posted: Thursday, October 17th, 2019 at 3:08 pm in News

by Edisa Weeks
multi-disciplinary artist and Director of DELIRIOUS Dances

THREE RITES: Life by DELIRIOUS Dances/Edisa Weeks, performer J’nae Simmons. Photo by Rebecca Fitton.

The United States Declaration of Independence states that, “all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”

As a child I believed in these three unalienable rights, however as I grew up I began questioning how our government guarantees Life, Liberty and Happiness? In an era of Citizens United, NAFTA, Black Lives Matter, Me Too, health Insurance, unratified treaties with Native Americans, the internment and deportation of Latinx people, and the longest war in America’s history, how and for whom are life, liberty and happiness being protected, promoted and pursued? These questions have resulted in three performance rituals (rites) that interrogate the pursuit of life, liberty and happiness in America.

The US Declaration of Independence also states, “That to secure these rights [life, liberty happiness], Governments are instituted among Men, deriving their just powers from the consent of the governed, — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.” I’m paraphrasing James Baldwin and a long legacy of activists when I say that, because I LOVE America, I will critique America, and demand that America lives up to and fully embodies its ideals as articulated in our Constitution, Bill of Rights, and the Declaration of Independence!

This past summer I had an NPN Phase II Development grant and a Choreoquest residency at Restoration ARTS in Bedford-Stuyvesant, Brooklyn, NY to workshop THREE RITES: Life. The residency culminated in two work-in-progress showings on Friday and Saturday, Sept. 6 & 7, 2019. THREE RITES: Life is a durational performance installation that advocates for a radical revolution of values, where corporations and citizens become better stewards of the earth.

In researching Life, I was saddened by the statistic that the average American consumes four to five pounds of trash a day, and it was angering to realize that our current environmentally destructive use of fossil fuels and disposable products such as soda cans, plastic bottles, plastic bags, plastic packaging, etc., was carefully cultivated by corporations.

In THREE RITES: Life two performers blindly and repetitively decapitate sunflowers and attach pieces of trash to the sunflower stalks, to create artificial flowers. I choose sunflowers because, depending on your cultural background, they symbolize long life, good fortune, vitality, a bountiful harvest, adoration and loyalty. In THREE RITES: Life they represent the lives and ecosystems that are being destroyed by our consumption habits.

During the Choreoquest residency the performers and I developed The Manager and the Shadow/Trickster characters. The Manager has several tasks. They invite the audience to color in the mural and help build a “model city” out of trash. When the dancers, whose eyes are sealed shut, begin moving, the manager makes sure they do not crash into a wall, pillar or audience member. The Manager also invites people to wear a Consumption Coat, which has five pounds of trash attached to it, so as a person walks around the installation they can visualize and carry the weight of five pounds of trash.

Consumption Coat. Photo by Julie Lemberger.

Edisa Weeks wearing the Consumption Coat. Photo by Julie Lemberger.

The Shadow character is still evolving—right now they are a combination of Eleguá, Loki, and the collective subconscious. The Shadow moves freely through the installation, and as a trickster and change agent, they create havoc in the effort to get people to “do the right thing.”


Shadow with audience. Photo by Rebecca Fitton.

The installation included an amazing black and white mural by Sophia Dawson, which the audience colored-in with chalk. The mural integrated quotes by environmental activists such as:

“We have not inherited the earth from our parents, we are borrowing it from our
— Wendell Berry

“If you change the environment, you change the people.” — Richard Buckminster Fuller

Each showing concluded with a workshop. On Friday John Gershman, Clinical Professor of Public Service at New York Univ., led a discussion on the Buen Vivir Movement, which started in South American and loosely translates into English as “good living” or “living well.” Buen Vivir advocates for a shift in values, where corporations and the Gross Domestic Product do not determine a nation’s success. What determines a nation’s success is the well-being of its citizens—how many people have access to health care, education, food, affordable housing, and are living above the poverty line. It redefines values, so humans are not owners of the earth and its resources, but we are stewards of the earth.

On Saturday Pamela Issac, with Materials for the Arts, taught a creative re-use bead-making workshop out of plastic straws and fabric.

Buen Vivir discussion with John Gershman, Clinical Professor of Public Service at New York University. Photo by Julie Lemberger.

THREE RITES: Life is an appeal for people and corporations to be better at taking care of ALL LIFE on earth. The earth has a finite number of resources, and corporate policies based on the endless consumption of resources are destroying life. If we don’t become better stewards, we will eventually be suffocating in our own waste.

You can watch a short video of the THREE RITES: Life showing here:

Edisa Weeks


THREE RITES: Life, Liberty, Happiness, is a seven-hour interdisciplinary interactive experience by DELIRIOUS Dances/Edisa Weeks, that integrates live music, dance, text, two visual installations, community discussions and shared meals to humorously and poignantly examine how America has protected, promoted and pursued life, liberty and happiness, and how these rights manifest in the body. The individual performance rituals (rites) can be performed separately or all together. THREE RITES is produced by Marýa Wethers and presented by 651ARTS. It will premiere in Brooklyn, NY in Fall 2020.

Founded by multi-disciplinary artist Edisa Weeks, DELIRIOUS Dances seeks to erase the barriers between art and life, between performance space and audience space, and between mediums. We are interested in finding ways for the audience to interact with and influence the experience of a work. We believe that art revitalizes the everyday to reveal something new about ourselves, and the revelation is an energy, a spark that has the power to change the world.

work-in-progress showing
Skylight Gallery at RestorationART in Brooklyn, NY
Fri. Sept. 6 and Sat. Sept. 7, 2019

Concept: Edisa Weeks
Choreography: Edisa Weeks in collaboration with the performers
Performers: Devin Oshiro, EmmaGrace Skove-Epes, J’nae Simmons, Johnnie Cruise Mercer
Muralist: Sophia Dawson
Buen Vivir Discussion: John Gershman
Creative Re-Use Workshop: Pamela Issac with Materials for the Arts
Videography and Editing: Darryl Hell Montgomery
Photos: Rebecca Fitton & Julie Lemberger
Producer: Marýa Wethers
Community Programs Coordinator: Rebecca Fitton
Creative Advisor: James Scruggs

A layered border: San Diego-Tijuana, NPN Mid-Year Meeting 2019

Posted: Thursday, October 17th, 2019 at 1:21 pm in Events, News

by Daniela Lieja Quintanar
Curator, Los Angeles Contemporary Exhibitions (LACE)

Barrio Logan – tour of a historic Chicano neighborhood that is home to galleries, artist studios, murals, and sites of activism and social justice.

I have crossed the U.S./Mexican border between San Diego and Tijuana many times since I moved to Los Angeles from Mexico City six years ago. The experience of crossing from one place to another, marked by a profound wound on the land, shakes my body and my spirit every time.

Gates entering Mexico at the US Border

Twenty miles from the border, our first gathering for the NPN Mid-Year Meeting was in the bowels of San Diego, underneath the elevated freeways that connect different neighborhoods—a conjunction of arteries that holds a flux of vehicles on rough concrete. Below this massive structure the glorious Chicano Park breathes the resistance. The columns that sustain the freeways are hidden with astonishing Chicano murals from the 1970´s to the present. Standing on an inspired Mayan structure that faces the four cardinal directions, our guide artist and community member Mario Chacon speaks about the history of struggle. In 1970, the Latinx community organized against a government that constantly builds borders as obstacles to erase us. They came together to fight for a green area.

Mario Chacon, a long time community member and artist, leads our tour of La Bodega Gallery and Chicano Park, before walking over to Bread & Salt Gallery as a group.
Mario Chacon, a long time community member and artist, leads our tour of La Bodega Gallery and Chicano Park, before walking over to Bread & Salt Gallery as a group.
Mario Chacon, a long time community member and artist, leads our tour of La Bodega Gallery and Chicano Park, before walking over to Bread & Salt Gallery as a group.
Mario Chacon, a long time community member and artist, leads our tour of La Bodega Gallery and Chicano Park, before walking over to Bread & Salt Gallery as a group.
Mario Chacon, a long time community member and artist, leads our tour of La Bodega Gallery and Chicano Park, before walking over to Bread & Salt Gallery as a group.


A walk inside the streets of Barrio Logan shows a new reality: a garden of cactus, medicinal and ritual herbs, a place for indigenous ceremonies, the modern sewing studio Sew Loka, a recently closed Chicano Art Gallery, and a bunch of new restaurants and galleries. Some of them work with the community.

The day closes with a performance by Women´s Revival Chorus and a complex panel with amazing border voices at Bread and Salt Gallery including: legendary artist Victor Ochoa who spoke about his long political artistic practice; Omar Pimienta, Tijuana artist and writer that delves into their everyday life border conditions; Andy Sturm artist, urban planner and Casa Familiar member: and Lourdes Lizardi Lopez who is a migrant rights activist working mainly independently in Tijuana.

Performance by Women’s Revival Chorus at Bread & Salt Gallery

The dialogue with Lourdes was broken because there was no simultaneous interpretation provided. Language is definitely another layer of the border in this country. Language is a big challenge for art organizations, but is also a matter of understanding our cities as multilingual spaces, honoring the diverse diasporas that surround us. In our collective reflections, the idea of creating multilingual spaces was discussed, firstly committing to the diverse diasporas in our communities, and secondly, establishing a long term relationship with the countries that connect them. An international dialogue is also urgent to strengthen the arts and its impact on our society. From the standpoint of language justice, defined as the right to use the language that you feel the most comfortable to express yourself, it is imperative to demolish the language border inside art organizations. Though it is a challenge, there are alternatives from translating didactics, to having simultaneous interpretations, or having artworks in multiple languages. One of the main efforts towards language justice is to integrate POC and multilingual speakers in our organizational teams and audiences, as well as to think of this as a necessity in our budgets. While this administration continues adding physical, administrative, and psychological walls to the border, it gets more complex to logistically bring international artists, but is also a reason to collectively push back through our arts networks.

The next morning we crossed the border into Mexico and our first stop was at CECUT Centro Cultural Tijuana. Opened in 1982, CECUT is a federal cultural center that gathers history, theater, contemporary arts, and education. The modernist architecture in desert colors reminds us that the landscape underneath the city is the same land as on the U.S. side.

Ingrávita Danza, performing solo dance and music

The next stop, and the most unforgettable in every visit to Tijuana, is at the actual physical border on the beach stretching into the ocean. On the side of Mexico, the city grows into the border, so it is loud, colorful, and alive. On the U.S. side, the militarization and the recent renovation of a new “peaceful” natural reserve is lonely and constantly under surveillance. Our group was fortunate to see art on the alive side, where thousands of people arrive to cross the border or come back from a country that aggressively and inhumanly expelled them.

Mujeres en Ritual Danza Teatro, performing an excerpt from Women at Water’s Edge/ Mujeres Al filo del agua, an NPN Creation Fund project

Inside the “Undocumented Café,” a place that offers free daily coffee to immigrants, activist and artist Gaba Cortes shared with us video documentaries of the everyday realities of people that are affected by the implications of the multiple layers of the border. There, where deported ex-Vietnam soldiers live in poor conditions, people from all over the world are waiting for asylum in a city that has to constantly readapt according to people’s movements and border politics. We had the opportunity to witness three courageous performances in front of the ocean, Mujeres en Ritual Danza Teatro, Ingrávita Danza, and Péndulo Cero Danza Contemporánea, with a blessing by Norma Meza indigenous activist from the Kumiai people from California (US/MEX) area.

Norma Meza, an indigenous activist, offered a native welcome ceremony before Pendulo Cero Danza Contemporánea, performing a site-specific version of Bodies are not Borders in front of the Friendship Park fence

The body is the first territory of resistance, and seeing all these performers using their bodies as a vehicle of resilience confronting the physical representation of power that controls our existences, was memorable. There, with art, with dance, with music, with chants, other possibilities are open and need to be sustained by the collective network that we have through NPN and our own work inside each of our organizations. We are all committed to begin, and continue, dialogue with artists from Mexico, Central America, and other latitudes that are part of this land, including first peoples.

NPN Announces 2019 Creation & Development Fund Awards

Posted: Wednesday, October 9th, 2019 at 12:46 pm in News

Marc David Pinate (“Antigone at the Border”). Photo credit: Kelly Presnell / Arizona Daily Star

Marc David Pinate (“Antigone at the Border”). Photo credit: Kelly Presnell / Arizona Daily Star

NPN Announces Fall 2019 Development Fund Awards

Through the Fall 2019 Development Fund, the National Performance Network (NPN) is pleased to announce it is awarding $45,000, and leveraging an additional $177,000, to further support six NPN Creation Fund projects. These projects represent a cross section of disciplines, geographies, cultures and practices that reflect NPN’s commitment to advancing racial justice and cultural equity through the arts.

The Development Fund, which is phase 2 of NPN’s Creation & Development Fund (CDF), helps offset managerial, artistic or technical needs when developing a work. These needs can include supporting technical residencies, building or deepening community engagement, relationship building, storytelling, or studio time to adapt a work for travel.

As part of NPN’s commitment to a more equitable vision for the future, the Creation & Development Fund is open to all disciplines, as long as the project results in a live, experiential exchange between artists and community in the form of public presentations, performances, gallery exhibitions or community activities. The next Development Fund deadline will be March 13, 2020.

Below are the Fall 2019 Development Fund recipients.

The Creation & Development Fund is made possible with support from the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation, the National Endowment for the Arts (a federal agency) and Co-commissioners.

Fall 2019 Development Fund Recipients

Jaamil Olawale Kosoko (Brooklyn, NY) and Wexner Center for the Arts (Columbus, OH) — Chameleon

Chameleon is a multi-tiered, multimedia performance project that examines the shape-shifting, illegible, and fugitive realities of Black diasporan people in the United States. The work moves between installation and performance, creating instabilities and slippages between the body and the environment, and the breath and musical score.

This development project will fund a five-day residency at Wexner Center for the Arts that will involve a nearly full artistic and production team to bring together work from several smaller technical residencies.


Andresia Moseley (Tampa, FL) and Art2Action (Tampa, FL) — Five Black Women

Five Black Women is a one-woman show with multiple characters, poetry, a DJ and song that reveals more than the stories of diverse black women. It is about the struggle to identify and what happens when we contemplate letting go of who the world thinks we are.

Five Black Women will be presented at a work-in-progress showing with community engagement activities at StageWorks Theatre in Tampa, FL. Development funds will support an intensive residency assisting with pre-production including artists fees, rehearsals and sound/lighting design.


Leyla McCalla (New Orleans, LA) and Contemporary Arts Center New OrleansBreaking the Thermometer to Hide the Fever (BTT) 

BTT is a multidisciplinary performance set to new music exploring the legacy of Radio Haiti-Inter, Haiti’s first privately owned Kreyol-speaking radio station, and the assassination of its owner, Jean Dominique. The work explores themes of exile and return and the complexities of what it means to be Haitian.

Support will aid in the development of many aspects of the work such as the integration of movement, staging, and implementation of the lighting, sound, projection, costume and set design.


Christopher K. Morgan & Artists (Washington, DC) and Dance Place (Washington, DC) — Native Intelligence/Innate Intelligence (NI/II)

NI/II is a two-part dance performance incorporating modern dance, hula, Hawaiian chant, and live music addressing the multiplicity of identities Morgan navigates, and invite audiences to reflect on their perception of Native people, their own identity, and instinct.

The weeklong residency and work-in-progress showing at Dance Place will be used to integrate the movement, set, music, and projection design of the production. A large-scale fabric used for touring will be created through two community lei making workshops.


Marc Pinate/Borderlands Theater (Tucson, AZ) — Antigone at the Border

Antigone at the Border explores social and psychological impact of US immigration policy on Latinx border communities as legacies of colonialism and white supremacy.  The work will be created in collaboration with immigrant/DACA communities in three western states along with ethnographic interviews from Latinx border patrol agents.

Funds will support collaboration between project artists, Tucson based literary and video collectives, and members of the undocumented queer immigrant community in Tucson that will result in collaborative scripting and video production of three choral odes.


theatre dybbuk (Los Angeles, CA) — protocols

protocols is a response to the nefarious document, The Protocols of the Elders of Zion, the fabricated conspiracy-theory used to fuel and justify anti-Semitism to the English-speaking world exactly 100 years ago. The work explores contemporary issues such as racism, propaganda, and freedom of speech.

The Development Fund will support artistic fees for the actors, director, choreographer, composer, and stage manager as protocols moves into its second phase of development.



Seeking Communications Manager

Posted: Wednesday, September 18th, 2019 at 4:02 pm in Job Announcements

Download a pdf copy of this job posting

Communications Manager

The National Performance Network (NPN), a national, nonprofit arts organization based in New Orleans, LA, seeks a Communications Manager. The Communications Manager oversees NPN’s storytelling, communications and promotion efforts. The primary duties include planning and implementing strategic, Network-wide communications that: 1) create opportunities to build and share knowledge, 2) amplify the work of Partner organizations and artists, and 3) leverage our collective voice to advocate for a more just and equitable world through the arts.

This full-time position requires excellent oral, written, and computer skills; strong attention to detail and project management timelines; and the ability to coordinate work across multiple departments. The NPN staff is a collegial, energetic team, and we offer a flexible environment, excellent benefits, and opportunities to travel.

The National Performance Network believes artists and arts organizations are essential for creating a just and sustainable world, and we believe communities deserve broad access to art and culture that reflect their own experiences and inform the experiences of others. NPN contributes to a more just and equitable world by building and shifting power for artists; advancing racial and cultural justice; fostering relationship-building and reciprocity between individuals, institutions and communities; and working towards systems change in arts and philanthropy.

In collaboration with more than 70 Partner organizations across the U.S., NPN seeks to provide original, risk-taking performing and visual artists with the resources needed to develop and tour new work, to ensure arts leaders have the skills and opportunities to be change-makers in the arts presenting field, and to influence cultural policy for more just and artist-centered practices. Learn more about our programs at

The Communications Manager works collaboratively with NPN’s staff to drive the creation, management, and implementation of the organization’s communication and storytelling activities. The ideal candidate will enjoy crafting communications strategies that message and integrate our many programs, execute communications activities across departments, and supervise a holistic and evolving approach to telling the stories of our organization’s and constituents’ impact. The Communications Manager duties include:

  • Collaborate with staff to develop relevant and engaging content rooted in the voices and experiences of constituents and the communities they serve
  • Participate in the selection and supervision of constituent storytellers
  • Commission, edit, and publish original editorial content including blog posts, interviews, social media, video, podcasts, and other media
  • Manage and execute communications efforts for the organization, including blog/website content, monthly e-newsletter, periodic e-blasts, conference promotion, social media engagement, and other communication platforms
  • Update website with announcements and news in a voice consistent with NPN’s mission and liaison with web developer/designer to ensure up-to-date messaging and content
  • Develop and manage communications calendars and timelines
  • Manage communications budget
  • Participate and assist in various meetings including the annual conference, staff retreats, board meetings, etc.


  • At least 3+ years of relevant experience
  • A deep commitment to social justice and equity
  • Experience as a writer and editor, ideally with a focus in art, performance, and/or social justice
  • Experience with website content management
  • Proficiency in social media platforms
  • Ability to work individually and collaboratively and manage ongoing and time-sensitive projects across departments and with different colleagues
  • Experience with graphic design is a plus


  • Reports to: Chief Operating Officer
  • Full-time, salaried position
  • Salary: $50,000/year
  • Benefits: 100% of individual health and dental plans, annual FSA (Flexible Spending Account), vacation, personal and sick leave, life insurance, professional development, and travel opportunities


  • Application deadline Nov. 7, 2019. The position is available immediately, and we expect to begin the interview process within 2-3 weeks of the application deadline.
  • Please include cover letter, resume/CV, three references, and at least two writing samples (may include catchy headlines, short blurbs, long articles, blogs, grant proposals, press releases, inspirational e-blasts, etc.). Email to (no phone calls or snail-mail submissions, please).

In alignment with NPN’s dedication to creating an arts sector rooted in justice, we are committed to ensuring a space that is free of racism, transphobia, homophobia, ableism, misogyny, classism, or other bias. NPN does not discriminate on the basis of race, color, ethnicity, religion, creed, gender, gender expression, age, national origin, mental or physical disability, marital status, sexual orientation, physical characteristics, marital status or military status, in any of its activities or operations. We encourage diverse applicants to apply.

NPN Announces 2019 Creation & Development Fund Awards

Posted: Thursday, July 11th, 2019 at 2:04 pm in News

Photo of “Less Then Red, More Than Violet” courtesy of 2019 Creation Fund artists Tim Smith Stewart and Jeffrey Azevedo.

Through The Creation & Development Fund, the National Performance Network (NPN) awards $300,000 – and leverages an additional $1.6 million – in support of the creation of 20 new artistic works. 

Creation & Development Funds are awarded to artists across disciplines, geographies and cultures that reflect NPN’s commitment to advancing racial justice and cultural equity through the arts. Sixteen of the 20 artist companies are first-time Creation Fund recipients, and they hail from 16 cities across the country from Tucson, AZ to Bighill, KY.

The Fund supports the creation, development and mobility of new artistic work resulting in live experiential exchange between artists and community. It provides a framework for relationships to develop over time among diverse artists, arts organizations, and communities.

Through the investment of commissioning funds from cultural organizations and NPN direct subsidies, each project is eligible for multilevel support. Forty-seven organizations from Homer, AK to Wilmington, NC are participating as co-commissioners, which will result in more than 60 paid artist engagements over the next three years.

Learn more about the Creation & Development Fund here.

The Creation and Development Fund is made possible with support from the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation, the National Endowment for the Arts (a federal agency) and Co-commissioners. 

2019 Creation & Development Fund Recipients

Jaamil Olawale KosokoBrooklyn, NY – Chameleon
Co-commissioners: Wexner Center for the Arts Columbus, OH; PICA Portland, OR; Tanz im August Berlin, Germany 

Chameleon is a multi-tiered, multimedia performance project that examines the shapeshifting, illegible, and fugitive realities of Black diasporan people in the United States. The work moves between installation and performance, creating instabilities and slippages between the body and the environment, the breath and musical score, and inviting the audience to encounter the many ways meaning might be projected or demanded from abstract and narrative material.

Borderlands Theater – Tucson, AZ – Antigone at the Border
Co-commissioners: International Sonoran Desert Alliance Ajo, AZ; Su Teatro Denver, CO; Milagro Portland, OR

Antigone at the Border is a collaboration between theatre artists and DACA communities in Arizona, Oregon, and Denver exploring the immigration crisis through the framework of Sophocles’ Antigone. Artistic Directors, Marc David Piñate (Borderlands Theater) and Ricardo Araiza (Teatro Bravo) combine ensembles to create a contemporary adaptation based on ethnographic interviews with DACA recipients and Border Patrol agents.

Will RawlsBrooklyn, NY – [siccer]
Commissioners: PICA Portland, OR; MCA Chicago Chicago, IL; The Momentary Benton, AR; The Kitchen New York, NY

Building from the editorial term for a misspelled word, “[sic]”, [siccer] is a dance and film project challenging widespread citation and misrepresentation of black bodies. Exploring the restlessness of gesture and language as strategies of black performance, [siccer] cultivates elusiveness and abstraction to resist the “racial gristmill” of mass media. Created by lead artist choreographer Will Rawls, with dramaturg Kemi Adeyemi, and performers Holland Andrews, keyon gaskin, jess pretty and Jeremy Toussaint-Baptiste

Ephrat Asherie DanceNew York, NY – Underscored
Commissioners: ArtPower at UC San Diego San Diego, CA; The Momentary Benton, AR; The Yard Chilmark, MA; Works and Process, Inc., Guggenheim New York, NY

UnderScored (working title) is a dance theater piece created and performed by members of Ephrat Asherie Dance, with special guest artists from New York City’s underground dance community. Inspired by the inter-generational memories of club dancers, the work explores the ever-changing physical landscape of New York City’s underground dance scene. 

Art2ActionTampa, FL – DRONE
Commissioners: Art2Action Tampa, FL; Arab American National Museum Dearborn, MI; CAC New Orleans New Orleans, LA

DRONE is a multimedia, ensemble theatre project integrating live music, drone technology, and artistic containers for public dialogue. It explores the drone as a metaphor for how we become desensitized to daily violence, both domestic and global, and the effects of remote-control warfare on the human soul. The finished work will include a touring production, an interactive online platform, and a process model for community dialogue and engagement.

Emily Johnson/Catalyst DanceMinneapolis, MN – Being Future Being
Commissioners: Bunnell Arts Homer, AK; Peak Performances Montclair, NJ; New York Live Arts New York, NY; PICA Portland, OR

Being Future Being examines the way that the stories we tell ourselves about how we came to be, set the potentials for who we will become. This new work seeks to (re)build new visions of the force that brought this world into being, bringing into focus new futures with the potential to reshape the way we relate to ourselves, and to the human and more- than-human cohabitants of our worlds. Emily Johnson and six to eight dancers serve as a chorus of beings from another realm.

Gesel MasonAustin, TX – Yes, And
Commissioners: Dance Place Washington, DC; Jamaica Center for Arts & Learning Queens, NY; Fusebox Festival Austin, TX; Women & Their Work Austin, TX

Yes, And (working title) re-centers Black womanhood and femininity as the norm and operating force in the creative process. From this recalibrated place, Mason explores the perspectives, approaches, and ideas that emerge within a community of self-identified Black female women. Seemly contradictory, the work is both: YES, an unapologetic celebration of Black sisterhood, AND, a complex investigation of issues and experiences (motherhood, trauma, sexuality, joy, mental health, etc.) from a Black female center.

Clear Creek Creative – Bighill, KY – Ezell: Ballad of a Land Man
Commissioners: Carpetbag Theatre Knoxville, TN; Mondo Bizarro New Orleans, LA

Ezell: Ballad of a Land Man is an environmental, cultural and spiritual parable devised and performed from the perspective of a rural white working class man in Appalachia reckoning with climate change, extractive resource industry, intergenerational trauma, belonging, ancestry and generations yet to come. The project involves a site-specific performance, an interactive visual-sound installation, a locally sourced community meal and an engagement session with audiences to integrate the theatrical experience and explore themes of domination and resilience.

theatre dybbukLos Angeles, CA – Protocols
Commissioners: LACE Los Angeles, CA; The Hive at Leichtag Commons Encinitas, CA

Protocols is being created in response to the nefarious document, The Protocols of the Elders of Zion, the fabricated conspiracy-theory used to fuel and justify anti-Semitism 100 years ago. Using this ugly history as a springboard, theatre dybbuk’s will explore contemporary issues such as racism, propaganda, and freedom of speech using humor, levity, empathy, and virtuosity to engage audiences with thought-provoking content.

Black Poetry Theatre – Durham, NC – Death of Cochise
Commissioners: Hayti Heritage Center Durham, NC; CFCC Wilson Center Wilmington, NC

It is summer. Two emcee poets leave home to meet and prepare for their show that night. As they navigate through the city, they witness rising tensions and frustrations at every corner. Families are struggling, the youth are anxious and blackness is being manipulated. When news of a life lost hits, the two artists know they have to do something before the community explodes. Can they use their show as a way to provide healing and direction to those who feel pushed to the edge and overlooked?

Tracy Murrell – Atlanta, GA – Mache Nan Soulye ou (Walking in Your Shoes) … Exploring Haitian Migration
Commissioners: Hammonds House Museum Atlanta, GA; Haiti Cultural Exchange Brooklyn, NY

Mache Nan Soulye ou (Walking in Your Shoes) … Exploring Haitian Migration explores contemporary Haitian migration and produces new artistic work offering a counter-narrative to the immigration story and bringing to light the universality of migration as a shared experience.

Open Dance Project – Houston, TX – All the Devils are Here: A Tempest in the Galapagos
Commissioners: DiverseWorks Houston, TX; Studio 5 Evanston, IL

Shakespeare’s The Tempest collides with the true story of an unsolved murder in the Galapagos in 1929. This immersive dance theater performance follows the failed attempts of a nihilist couple, a conservative family, and a baroness and her two gay lovers to escape the world of man on the uninhabited island of Floreana. Their conflicting visions of Paradise, sexual and moral “rightness,” colonial instincts, and social and psychological demons lead to disaster and provide a rich canvas for a poignant examination of basic human rights, social justice, and power structures.

Tim Smith Stewart & Jeffrey Azevedo – Seattle, WA – SALVAGE RITUALS
Commissioners: On The Boards Seattle, WA; California Polytechnic University of San Luis Obispo San Luis Obispo, CA

SALVAGE RITUALS is an interdisciplinary performance that physically and technologically manifests the ingenuity and resilience of marginalized communities; our ability to thrive, to salvage technologies, and to remake mythologies to sustain our light through intersecting societal and governmental hostilities. 

A Host of People – Detroit, MI – The Death of Cleopatra
Commissioners: Arab American National Museum Dearborn, MI; Pablo Center at the Confluence Eau Claire, WI

A Host of People will collaborate with Lebanese-American poet Kamelya Youssef on a translated adaptation of famed Egyptian poet/playwright Ahmed Shawqi’s 1927 play The Death of Cleopatra. Youssef will translate Shawqi’s play from Egyptian to English and the adaptation will grow in deep collaboration with the theatre artists of A Host of People, led by AHOP Co-Director Sherrine Azab. This new The Death of Cleopatra is being created as a companion piece to A Host of People’s latest revised work Cleopatra Boy.

Jose Torres-Tama – New Orleans, LA – United States of Amnesia: from Fugitive Slave Act to Zero Tolerance
Commissioners: Gala Hispanic Theatre Washington, DC; Ashe Cultural Arts Center New Orleans, LA

Performing the roles of shamanistic time-travelers chronicling the hidden history of a nation that seduces its citizenry to embrace forgetting, an ensemble of Black and Brown artists revisit laws such as the Fugitive Slave Act (1793) to Indian Removal Act (1830) to Zero Tolerance Policy (2018). Exposing a U.S. narrative of official legislation strategically written to dispossess people of color from their ‘inalienable’ constitutional rights and their liberated bodies in the United States of Amnesia, which was founded on white supremacist beliefs.

Kate Speer & Kayla Hamilton – Denver, CO – Place Holder
Commissioners: RedLine Denver, CO; Gibney Dance New York City, NY; Building Bridges Art Exchange Santa Monica, CA

Place Holder (working title) is a performance work collaboratively made by Kayla Hamilton and Kate Speer that exposes how surveillance actualizes and strips identities. Committed to crafting experiential performance work, Place Holder will be a multimedia, multi-sensory event rooted in physicality, voice, and the deeply personal.

Leyla McCallaNew Orleans, LA – Breaking the Thermometer to Hide the Fever
Commissioners: CAC New Orleans New Orleans, LA; Duke Performances Durham, NC; MDC Live Arts Miami, FL

Breaking the Thermometer to Hide the Fever is a multidisciplinary performance set to music by Haitian-American singer-songwriter Leyla McCalla. The project explores the legacy of Radio Haiti-Inter, Haiti’s first privately owned Creole-speaking radio station, and the assassination of its owner, Jean Dominique, in 2000. Directed by Kiyoko McCrae, this work combines storytelling, dance, video projection, and audio recordings from the Radio Haiti Archive housed at Duke University.

Mary Prescott – Minneapolis, MN – Tida
Commissioners: Living Arts Tulsa, OK; Public Functionary Minneapolis, MN

Tida is an evening-length performance about intergenerational cultural identity through a Thai-American woman’s maternal lineage. Integrating music, movement and word, Prescott investigates her mother’s undocumented Thai ancestry and her experience as a Southeast Asian immigrant raising biracial and bicultural children in America, and the resulting impact. Tida shares a significant but unheard perspective that gives voice to a social, racial, cultural, generational and artistic minority.

Christopher K. Morgan– Washington, DC – Native Intelligence / Innate Intelligence
Commissioners: Maui Arts & Cultural Center Kahului, HI; Dance Place Washington, DC; PA’I Foundation Honolulu, HI

Native Intelligence/Innate Intelligence is a two-part dance performance that incorporates modern dance, hula, Hawaiian chant, and live music. In solo work, Native Intelligence, Morgan investigates how he maintains his root cultural identity when separated from ancestral land. Innate Intelligence is an ensemble work that uses movement, scenery and music to examine the human instinct to connect to one another. The two parts create a comprehensive picture of the multiplicity of identities Morgan navigates, and invites audiences to reflect on their perception of Native people, their own identity, and instinct.

Ananya Dance TheatreMinneapolis, MN – Agun
Commissioners: Skirball Cultural Center Los Angeles, CA; Bates Dance Festival Lewiston, ME

Agun deepens Chatterjea’s inquiry into footwork: as the beginning of home and belonging, as an aesthetic declaration of place and personhood in dance, and abstracted as alienation. The exploration conjures images of many feet walking away from and towards home, across time and space, crossing borders to safety and to violences, and the moments of contact between feet and ground – so evocative and pleasurable in dance – that mark complex rhythm cycles, where footwork is vibration. 



Join our 2019 New Orleans Host Committee!

Posted: Wednesday, May 1st, 2019 at 4:10 pm in News

National Performance Network is thrilled to return to New Orleans for its 2019 Annual Conference December 10-13 in collaboration with local Partners Ashé Cultural Arts CenterContemporary Arts Center NOLA and Junebug Productions

There are many ways you can help us shape our 2019 NPN Conference, which brings together 350+ arts leaders from around the country to explore building a more just and equitable world through the arts. Please fill out our interest form to let us know how you’d like to get involved, including our host committee.


NPN staff relies on the generosity and knowledge of the host community in order to ensure that the meeting reflects and respects its community members’ voice and expertise. The list of roles and expectations below serve as guidelines for participation.

  • Commitment to anti-oppression and freedom of expression: In alignment with our organizational commitment to creating an arts sector rooted in justice, we are committed to ensuring a space that is free of racism, transphobia, homophobia, ableism, misogyny, classism, or other bias. Likewise, NPN supports the creation and touring of diverse original work and we encourage artists to show that work without compromise. We expect any work presented in any space hosted by NPN, as well as any hosts and partners in our convenings and other activities, will honor these ethics.
  • Participate in ongoing planning in advance of the conference (no more than to two full committee meetings with NPN staff; periodic sub-committee meetings as needed)
  • Attend the Annual Conference (Host Committee members are waived registration)
  • Help inform NPN’s understanding of goals and issues critical to the local community
  • Help identify members of the local community as attendees, speakers, panelists, etc.
  • Help promote the conference to the local community

In addition to the above general expectations, we also have three identified subcommittees:

  • ARTIST SELECTION: Nominate and select local artists for showcases, performances, workshops, etc.; and help identify local artists as attendees, speakers, and panelists
  • AMBASSADORS: Help organize art/culture tours, neighborhood tours, or other activities that showcase the city beyond the conference meeting site
  • SPONSORSHIP: Assist in making contacts with potential funders, identify opportunities for in-kind support, and help develop sponsorship strategies


  • MAY: Host Committee members finalized
  • JUNE: Circulate call for content to local community; Invite/nominate local artists as featured performers
  • JULY: Select local artists as featured performers
  • AUGUST: All content finalized; all culture tours finalized
  • AUGUST: Circulate call to local artists for attendee scholarships; selection in September
  • SEPTEMBER: Registration opens
  • SEPTEMBER – DECEMBER: Circulate conference promotion to local community
  • DECEMBER 10-13: NPN 2019 Conference!

Accepting nominations for Board of Directors

Posted: Thursday, April 25th, 2019 at 5:22 pm in News

Nominate yourself or your peers for the NPN Board of Directors! Board service offers individuals an opportunity to deepen their voice on behalf of our network, to shape and guide our future direction, and to engage with peers from across the country on the most pressing issues facing our sector.

The NPN Board is comprised of representatives from our national Partner organizations, artists, and nonprofit and business leaders. Our Board is a reflection of our commitment to racial and cultural equity, and we seek a dynamic Board that represents the diverse demographics, aesthetics, backgrounds, geographies, and skill sets essential to a healthy and informed organization. [see NPN’s current board]

Deadline for submissions is May 31, 2019.

Terms of service:

  • Board service begins September 1, 2017
  • Trustees are elected to a 3-year term, and may renew for a second 3-year term.
  • Trustees are expected to participate in 3 face-to-face Board meetings a year: March/April (2 days), September (2 days), and
  • December (half-day during the Annual Conference). NPN underwrites travel expenses for Board members and provides an honorarium to Board members who are independent artists.

Board members are asked to:

  • Maintain a commitment to the mission and values of NPN
  • Make a gift to the organization in an amount that is personally meaningful
  • Engage in leadership development and Board learning
  • Represent the interests of the organization as a whole, rather than individual interests
  • Advocate on behalf of NPN
  • Oversee the President & CEO
  • Accept fiduciary responsibility for the organization
  • Ensure the organization is in accordance with legal and ethical practices


NPN seeks arts presenters, artists, as well as other leaders from the arts, philanthropy, nonprofit, and business sectors, and individuals working outside these systems. We welcome emerging and experienced leaders, including those who have not served on Boards previously. In particular, we seek:

  • Representatives from our national Partner organizations, including staff at all levels of leadership (executive, artistic, programming, educational, administrative and other staff) and individuals who serve on Partner organization’s boards
  • Independent artists of any discipline
  • Movement-leaders, activists, and organizers from social justice sectors outside of the arts
  • Individuals interested in new approaches to leadership, planning, and systems change
  • Individuals who bring critical perspectives from historically marginalized communities — in particular, trans folx, people with disabilities, and Native/Indigenous peoples
  • Leaders from remote rural communities
  • Leaders from New Orleans and the South
  • Individuals with experience and commitment to international engagement and exchange

NOMINATE NOW! Nominations deadline is May 31, 2019

Guest Post: Decolonizing Alaska

Posted: Tuesday, March 26th, 2019 at 2:42 pm in News

By Asia Freeman
Artistic Director, Bunnell Street Arts Center  

Emily Johnson is part of a brave new generation of artists that is leading Alaska’s cultural sector to become adaptive and resilient. Photo from her work “THE THANK-YOU BAR.”

Emily Johnson returns home to Alaska every year to spend time with her family during traditional times of subsistence harvest. During her stay, the Yup’ik artist makes time to share and collect stories that shape her work as a dancer, storyteller and Artistic Director of Catalyst. Here, at Bunnell Street Arts Center, she’s found a place where people have gathered for decades. Long before this was an arts center, it was a general store at the end of the road to the west.

Johnson is part of a brave new generation of artists that is leading Alaska’s cultural sector to become adaptive and resilient, placing equity alongside excellence through inspired, decolonizing approaches that force us to evolve. Their artistic works reflect deeper truths about who we are and how we support each other—in ways both necessary and challenging, Alaskans are shaped and forged by our environment, our shared history and each other.

Incubator of Alaska’s artistic innovators, Bunnell’s mission is to nurture and present innovative art of exceptional quality for diverse audiences. Through exhibitions, educational and touring programs, artists in residence and artists in schools Bunnell aims to reflect and connect diverse and disparate communities. Conversations, workshops and projects help Alaskans cultivate our identities and strengthen creative visions.  Due to geographic and cultural isolation we have few opportunities to access educational art experiences that truly reflect Alaska’s racial and cultural diversity. This arts center has been a powerful force in shaping and connecting Alaska’s cultural landscape for twenty seven years.

Revering this land and its stories has shaped and transformed me and my work as a curator at Bunnell Street Arts Center. Here, we examine, engage, challenge, and celebrate Alaska’s artistic resources, questions and opportunities. Today, on the leading edge of climate change, Alaskans adapt to survive. In ways both necessary and challenging, we are shaped and forged by our environment and each other.  For Bunnell, and for myself, a process of self-definition and transformation is happening in tandem with the decolonizing methods of the artists we present.

‘The history we always knew’

Bunnell Street Arts Center is located by a place called Bishop’s Beach, situated on the borderland of the Kenai River’s Dena’ina and the Sugpiaq, who are based across Kachemak Bay.

Bunnell is located by a place called Bishop’s Beach by the homesteaders, fox farmers and fisherman who began settling this area about 100 years ago. It’s situated on the borderland of the Kenai River’s Dena’ina and the Sugpiaq (Russian colonizers called them Alutiiq), who are based across Kachemak Bay. Here, an abundance of sea life has sustained rich cultures and attracted many pioneers.

In 1937, Maybelle and Arthur Berry erected the Inlet Trading Post, now home to Bunnell Street Arts Center, to serve these newcomers. The Inlet Trading Post was a kit general store, milled in Washington and unloaded on the beach from a steamship, probably ordered from Sears and Roebuck. At 32 by 64 feet, stocked with can goods from floor to ceiling, it was Homer’s first “big box” store.

That was the history we always knew. But long before it was called Bishop’s Beach, the Dena’ina people named this place Tuggeght. We learned this name from Johnson when she was Artist in Residence in 2016. Her project SHORE: Homer at Tuggeght subtly sparked Bunnell’s efforts to place equity and inclusion alongside excellence in every aspect of what we do.

Survival stories

As part of presenting SHORE, Bunnell and Catalyst joined Woodard Creek Coalition, a cross-sector partnership of community organizations situated in the Woodard Creek watershed, which bisects our town from the mountainside behind us to the beach in front of us. The coalition was created with the intention of daylighting the paved-over creek to mark its presence through paint and dance.

This project invited community stories that revealed the critical, leading role that the arts have in uplifting the intrinsic, age-old and evolving histories of this place. Through storytelling, feasting and dance, Johnson’s act of land acknowledgment taught us that right hereas in many other placescolonizers erased and suppressed history by taking Indigenous land and announcing new names. Through Johnson’s work, the power of land acknowledgement flows like hidden rivers beneath our feet

Similarly, a play about this land has deeply affected how we tell our story. In 2017, Bunnell co-commissioned Ping Chong + Company to create ALAXSXA | ALASKA (uh-LUCK-shkuh), a theatrical piece that weaves puppetry, video, recorded interviews and yuraq (Yup’ik drum and dance) in a collage of striking contemporary and historical encounters between Alaska Native communities and newcomers in our state. Performers Ryan Conarro, Gary Upay’aq Beaver (Central Yup’ik) and puppeteer Justin Perkins reveal little-known histories—at times humorous, at times tragic—and juxtapose them against their own personal histories as “insider” and “outsider” in the Last Frontier.

ALAXSXA | ALASKA audiences experience intimate encounters with a multimedia performance as epic as the changing landscapes of Alaska. We reflect on dozens of stories that alternately illustrate and challenge our impressions of the Great Land. ALAXSXA | ALASKA acknowledges that this place is built of many stories, and the colonial narrative that begins with Russian conquest, or the sale of Alaska to the U.S., or Statehood, is as deeply ingrained as it is discriminatory, exclusive and privileged. For many, especially non-Native Alaskans, hearing stories of survival—from ice-fishing to snow machine repair at 40 below—reminds us that the accounts of those who have survived over 10,000 years are here for those who are paying attention, like vast landscapes under a blanket of snow.

The most powerful occasion of witnessing ALAXSXA | ALASKA’s impact was, for me, in the village of Nanwalek. This village is only 10 minutes away from my home by plane—just a hop, skip and a jump across Kachemak Bay, where I’ve lived most of my life. But I’d never been there. Maybe because it’s off the road system. ALAXSXA | ALASKA drew a packed audience at Nanwalek’s K-12 school. After viewing excerpts of the play with the entire village, Chief Kvasnikoff invited everyone to a talking circle, including very small children.

We heard many courageous and powerful survival stories from families that were fractured as kids were shipped off to boarding schools, where Native languages were violently suppressed, and the ensuing intergenerational trauma of alcoholism, shame and violence.  It reminded me that the arts are poised to help Americans experience truth and reconciliation if we care to pay attention.

“Decolonization begins in how we meet each other,” Conarro said, “how we tell our stories.”

Challenging the narrative

The experience of presenting ALAXSXA | ALASKA and witnessing its effect on audiences and communities has shown me that Alaskans are ready to push away from the Great White Narrative toward truer stories. From a Creation Residency to two tours of Alaska (2017 and 2018), the piece has been game-changer, inspiring teachers, health-care providers, tribal leaders and youth to share their personal stories and challenge the narrative of Alaska that is taught in our schools.

Visual artists are taking up the cause, too. As the world’s attention shifts to the shrinking polar ice cap and the future of our planet, Alaska’s place in the world has moved from the fringe to the center. Widely considered a “resource state,” rich in extracts such as gold, fish, timber and oil, Alaska has been colonized for centuries by forces that divide and dominate this state’s identity.

Joel Isaak created a video installation, Łuqa’ ch’k’ezdelghayi “Visions of Summer,” in which his solo dance is projected on the back of a salmon skin screen.

Alaska’s art market has for decades reflected the colonization and repression that has defined the industrialization of Alaska—a stereotypical idea of Alaska featuring dog sleds and “Eskimos,” igloos and objects of native iconography often reproduced abroad. In reality, Alaska artists present expansive ideas of Alaskan culture and people in art that explores both endangered traditions and new constructs of identity. Alaska’s artists propose a confluence of indigenous and global materials, expanding and redefining the roles of tradition and technology to explore difficult territories and express new ways of being.

“I live a mixture of Western and indigenous culture,” Joel Isaak (Dena’ina – Kenai, Alaska) said. “I explore the freedom to exchange information and experiences. Decolonizing means embracing cultural reciprocity and working toward universal acceptance of human beings.

Isaak created a video installation, Łuqa’ ch’k’ezdelghayi “Visions of Summer,” in which his solo dance is projected on the back of a salmon skin screen. The installation is one of 31 artworks featured in Decolonizing Alaska, an exhibit produced by Bunnell that toured Alaska for three years and travelled to Washington D.C. In it, Alaska’s artists have been challenged and changed by the question: “How should we tell the stories of colonization?”

Artists respond, surfacing themes ranging from intergenerational trauma to resource management, and how the history of Alaska is told in our schools.For this exhibit, we embraced the challenge, and didn’t leave it to Alaskan Native artists. As a curator and visual artist, my feeling is that limiting the conversation to Indigenous artists only perpetuates colonization. Decolonization requires the concerted efforts and profound participation of both the colonizer and the colonized.

Reshaping traditions

The shared innovations, unconventional materials and respectful inquiry of Alaska’s working artists is beginning to dismantle a hierarchy of colonization and usher in a new era. In Alaska’s diverse artistic production, we see artist’s conversations connecting vast geographic distances and cultural experiences.

“I struggle with how many people draw boundaries and create categories about what kind of people and what kind of artists we are,” filmmaker Michael Walsh (Homer, Alaska)  “I fear this perpetuates colonization.”

Walsh’s 35mm screen-printed film on celluloid celebrates the charismatic power of the Inupiaq woman rapper, AKU-MATU.  “White man suppressed this power when he colonized Alaska, creating false divisions. I hope these divisions will dissolve in the 21st century and the voices of today’s leaders will resonate with the wisdom of our Indigenous ancestors and hopeful humans of the future,” he says.

“In my painting, St. Katherine of Karluk, I replace the symbolic elements of a Russian Orthodox icon with those of the Alutiiq people,” Linda Infante Lyons said.

Artistic invention and imagination are reshaping traditions. New possibilities for cultural identity and sustainability are emerging in an environment of innovation. Linda Infante Lyons (Alutiiq – Anchorage) painted a portrait of her maternal grandmother from Kodiak Island in a bold, revisionist telling of history that elevates a new, powerful view of Indigenous women.

“Rediscovering culture and recovering lost religious icons are important steps in decolonization, “ Lyons said. “In my painting, St. Katherine of Karluk, I replace the symbolic elements of a Russian Orthodox icon with those of the Alutiiq people… I am a living example of the melding of two cultures, the native and the colonizer. In this effort to represent the decolonization of Alaska, I acknowledge the assimilated icons of the colonizer, yet bring forth, as equals, the spiritual symbols of my Native ancestors.”

I share these artists’ hopes that new images of power reflect deeper truths about who we are and how we support each other. May we heal centuries of racism, suppression and shaming. May new images of powerful Indigenous women infuse Alaska with resilience and respect.

Photos courtesy of Bunnell Street Arts Center. 

Asia Freeman was born in Mexico and raised in Alaska. After graduating from Homer High School she attended Yale College (BA, ‘91) and Vermont School of Fine Arts (MFA ‘97). Asia is a visual artist, an adjunct art instructor for the University of Alaska and a co-founder of Bunnell Street Arts Center, where she holds the position of Artistic Director.

LANE program launches new podcast

Posted: Friday, March 1st, 2019 at 1:24 pm in News

Our LANE team has launched a podcast exploring practical tools and concepts designed to transform the arts and culture field toward equity and justice. In Episode 1 of “TACtile: A Practical Guide to Transforming Arts & Culture,” Alpha Cohort members share their stories of transformation in a session recorded at our 2018 NPN Conference in Pittsburgh.

Listen on iTunes 
Listen on Stitcher 
Listen on Spotify

What is LANE?
NPN recognizes that there are significant racial and geographic barriers to the organizational health of many of our Partners. Leveraging a Network for Equity (LANE) addresses this inequity by amplifying the leadership of organizations of color and rural organizations through a four-year journey that builds their capacity to thrive.

ALPHA Cohort: Carpetbag Theatre (Knoxville, TN), Central District Forum for Arts & Ideas (Seattle, WA), Movimiento de Arte y Cultura Latino Americana / MACLA (San Jose, CA), Myrna Loy Center (Helena, MT), Junebug Productions (New Orleans, LA), Su Teatro Cultural and Performing Arts Center (Denver, CO)



11 NPN artists awarded 2019 USA Fellowships

Posted: Tuesday, January 22nd, 2019 at 3:15 pm in News

Above: Photo of Allison Akotchook Warden by Nicholas Galanin. Below: Photo of Alice Sheppard.

NPN celebrates the announcement of the 2019 United States Artists (“USA”) Fellows, including 11 NPN artists. The 45 selected artists and collectives span all disciplines. Each will receive $50,000 in unrestricted funding.

“Each Fellow is a reminder of the breadth of our cultural landscape, and the 2019 cohort is yet another testament to how much incredible work is happening across the country,” United States Artists President & CEO Deana Haggag said. “From painters to podcasters to pop musicians, we’re lucky to have these artists reflecting our collective humanity and stirring the public’s imagination.”

Please join us in congratulating the following 2019 USA Fellows:  


  • David Dorfman, Choreographer (New London, CT)
  • Lenora Lee, Dancer & Choreographer (San Francisco, CA)
  • Alice Sheppard, Dancer & Choreographer (Los Altos, CA)
  • Merian Soto, Dancer & Choreographer (Philadelphia, PA)
  • Yara Travieso, Choreographer & Filmmaker (Brooklyn, NY)


  • Charlotte Brathwaite, Director (New York, NY)
  • Complex Movements, Installation & Performance Collective (Detroit, MI)
  • Teo Castellanos, Theater Artist (Miami, FL)
  • Kaneza Schaal, Theater Artist (Brooklyn, NY)


  • Allison Akotchook Warden, Multidisciplinary Artist & Performer (Anchorage, AK)


  • Wu Tsang, Filmmaker & Artist (Los Angeles, CA)

For more information, read USA’s press release.

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