October 2025 News


November 4, 2025  •  6 minute read

Joy, Resistance, and Care at the NPN 2025 Conference

A large,ballroom-style conference space with a seated audience facing away from the camera and looking to the right side of the image. On the right, a Black woman stands behind a podium and speaks to the audience. On the left side of the image, in the corner of the room, a large digital screen faces the audience and displays the blue interlocking geometric shapes of the conference branding, with the words “Stormshaping, NPN 2025 Conference” in large white letters.
Stephanie McKee-Anderson of Junebug Productions delivers opening remarks at the NPN 2025 Conference. Photo by Melisa Cardona.

“Deep, radical care is how we make freedom real,” Stephanie McKee-Anderson of Junebug Productions included in her opening remarks at NPN’s recent conference.

The convening gathered more than 300 attendees in New Orleans in October for NPN’s first in-person conference since 2019 — artists, cultural workers, activists, organizers, funders, and policy makers from across the country — to imagine and commit to new futures together rooted in collective wisdom and care.

“We choose to turn toward each other, amidst so many forces working to separate us,” Caitlin Strokosch, NPN’s President & CEO, said in her opening remarks, “to be accountable to and responsible for each other in all our messy complexity.”

In the coming months, we’ll share a number of reports, essays, and plans emerging from the conference, including:

  • Vision and strategy from our three-day Cultural Movement Assembly, in partnership with Project South.
     
  • The Future of Artist Mobility, a workshop facilitated by Design Studio for Social Intervention, to guide how we respond to the challenges and changes in artist touring.
     
  • Bvlbancha Public Access will share more about their Colonial Shoutout as an evolving part of land acknowledgment practices.
     
  • And we’ll offer attendees’ reflections, stories, photos, and more as we mark NPN’s 40th anniversary year.

Whether or not you were able to join us at the conference, we’re excited to share this work!

Burnaway x NPN Critic-in-Residence Partnership

A Black Masking Indian, wearing an elaborate headdress and suit of pink, white, and blue, holds a tambourine and performs for a seated audience at the NPN 2025 Conference.
Performance by Queen Reesie Collective (@guardiansoftheflamemaroons), a New Orleans-based Black Masking Indian group, at the NPN 2025 Conference in October. Photo by Melisa Cardona.

Burnaway — a non-profit magazine of contemporary art and criticism from the American South and the Caribbean — has launched a new Critic-in-Residence partnership with NPN.

“NPN believes criticism is an essential component of a healthy arts ecosystem, and Burnaway’s regional storytelling contributes to our understanding of the material conditions of artists and arts organizations oppressed by political, economic, and social systems in the US,” says Riley Yaxley, NPN’s Resource Development Manager and a writer and editor with Sixty Inches from Center.

For Courtney McClellan, Burnaway’s Editor and Artist Director, the partnership is a natural fit. “We are thrilled to be able to partner with the National Performance Network, a like-minded art organization that also fights repressive forces and champions the cultural production of the American South. We have long admired the racial and social justice mission of NPN, and we share in its vision of inclusion, activation, reciprocity, and resilience through art and performance in these challenging times.”The partnership launched at NPN’s October 2025 conference. Learn more about the Burnaway x NPN partnership.

Invitations – “Ready to Fly”

On the left side of the image, in the foreground, is the text “Mixed Metaphor” in large letters, and underneath that in smaller letters is the text “A Liberatory Infrastructure Learning Deck." On the right side of the image, in the foreground, is a cropped close-up of the back of card 5, which has a dark blue background with the phrase “Ready to Fly” in light purple in the center. On either side of the phrase is a semi-abstract figure of a woman; the woman on the left is standing and pouring water out of a jug, while the woman on the right is sitting on a grassy hillside and offering her hand as a perch for several light blue butterflies. Behind it is the partially obscured face of the same card, which has a white background with darker text that reads in part, “Ready to Fly / I just can’t keep still / And I’ll tell you the…” The other cards of the deck are spread horizontally, faces down, in a colorful distribution across the background of the composition.
“Ready to Fly,” card 5 of the Mixed Metaphor deck, encourages embodied practices and reflection to prepare for change.

“When the movement comes, I want to be ready to fly… Ready to walk this freedom road.”
— Adaptation of a Civil Rights Movement Song

Drawing from movement singing traditions, this card invites arts leaders to prepare for transformation. It encourages readiness for change through embodied practices and reflection on what we need to be prepared for the journey ahead.

Explore this card and others directly on your phone or desktop with our interactive Mixed Metaphor Liberatory Learning Deck.

Pregones/Puerto Rican Traveling Theater Named to NYC Cultural Institutions Group

A darkened performance space lit from the rear with red and blue lights. In the background is a stage curtain. In the foreground, backlit and almost entirely in a deep blue shadow, a woman with full, wavy hair that reaches her neck stands at a simple table. She is wearing a short-sleeved dress and her bare forearms rest against the edge of the table. She appears to be holding an unidentified object. Clamped to the table in front of her and to her left are two large lamps on adjustable armatures.
Anonymous Ensemble’s Llontop at Pregones Theater, January 9–18, 2026.

In a rare expansion of the esteemed Cultural Institutions Group (CIG), New York City’s Mayor and the Department of Cultural Affairs announced recently that Pregones/Puerto Rican Traveling Theater (an NPN National Partner) is one of five new members of CIG.

“We are thrilled to be publicly recognized as a cultural treasure and to join other beloved organizational representatives of New York excellence,” says Arnaldo López, Pregones/PRTT’s Managing Director.

CIG was established in 1869 to ensure public support for institutions recognized as “necessary public cultural amenities.” Laurie Cumbo, the commissioner of cultural affairs, said these additions give the city “a once-in-a-generation opportunity to foster greater equity in this important source of city support for the arts in all five boroughs.”

Read “Five Arts and Culture Nonprofits Join New York City’s Cultural Institutions Group” at ARTnews.

Announcements

10 Movement Agreements to Build Power, Resist Fascism, and Transform Our World

Project South, the Atlanta-based institute that advances community and movement organizing in the U.S. South, has published the “Katrina 20 People’s Movement Assembly Synthesis Report & Organizing Handbook,” which synthesizes eight months of engagement with “hundreds of frontline organizers, community leaders, artists, educators, and movement elders across the Gulf South and beyond” into a vision for a new movement infrastructure to replace the collapsing legacy systems that have failed our communities.

At the heart of the report are the Movement Agreements, ten practices describing a shared vision for movement infrastructure that you can adapt and incorporate into your own movement work.

Read “10 Movement Agreements To Build Power, Resist Fascism, and Transform Our World” on the NPN blog.

A simple two-tone box with text. In the top half are the words, “Katrina 20 People’s Movement Assembly,” and in the bottom half are the words, “Synthesis Report & Organizing Handbook.” In much smaller type along the bottom is the phrase, “Gathering our people to resist fascism and rebuild our world.”

Upcoming Artist Activities

Babylon: Journeys of Refugees, Sandglass Theater

Premieres November 6 at 8:00 pm

How to watch:

This action-packed, high-energy production from Sandglass Theater, produced with financial support from NPN’s Creation Fund and Artist Engagement Fund, is a response to the worldwide refugee crisis and its impact on communities in the United States. Using puppets and moving panoramic scrolls, five actor/singer/puppeteers tell refugees’ stories in original four-part choral songs. To create Babylon, Sandglass worked with the USCRI Vermont (US Committee for Refugees and Immigrants) and conducted research and interviews with new residents who immigrated to the US, in order to understand the challenges that face refugees and asylum seekers. For ages 14 and up.

Film still of a refugee puppet with dark hair and a green jacket holding his hands in front of his face. Two puppeteers are visible behind him, holding hm in position. A third puppeteer is just out of frame on the right, holding a bright light pointed at the puppet. In the foreground on the left, a fourth unseen puppeteer’s hand extends into frame, holding an open butterfly knife with the blade pointed threateningly at the puppet’s face.
Still from Babylon: Journeys of Refugees, by Sandglass Theater.

Apollo, Pioneer Winter Collective

November 21 & 22 at 8:00 pm
November 23 at 2:00 pm
The Broward Center for the Performing Arts (Fort Lauderdale, FL)

Featuring a multigenerational cast, Apollo explores queer dynamics, memory, HIV/AIDS, legacy, and ageism in the performing arts. Pioneer Winter describes Apollo as a biomythography, a style that weaves myth, history, and biography in epic narrative. The work draws inspiration from Greek mythology’s Apollo (god of the sun, music, prophecy, and healing), George Balanchine’s 1928 ballet Apollo, and the cast’s lived experience. In the performance, Pioneer Winter is joined by dance artists Clarence BrooksFrank Campisano, and Octavio Campos, with original composition and live performance by sound artist Diego Melgar.

Ticketing info for Apollo

On a darkened stage, an older Black male dancer is suspended upside down, eyes closed and arms extended, as he is held by another male dancer behind him. The image is cropped to focus on the Black dancer’s shoulders and face, with the other dancer’s bare legs and feet visible behind him.
Apollo, Pioneer Winter Collective.

What We’re Reading

The book cover for Claire Dunning’s book, Nonprofit Neighborhoods. The top half of the cover is a solid red, with the title of the book in thin white text. The bottom half features a black-and-white photo from the 1960s that shows a Black woman seated on the left side of a table and holding a pen as she looks at a white woman seated on the right side of the table. Behind the white woman, a Black man in a dark suit and tie is leaning over the table and staring at the women. On the wall behind them is a framed map of a large city.
Nonprofit Neighborhoods by Claire Dunning, published by University of Chicago Press, 2022.

Each month, NPN’s staff and board engage with a reading that helps shape our analysis of our sociopolitical landscape and deepen our understanding of how to embed liberatory practices throughout our work. The Collective Learning Series is organized by NPN’s Department of Racial Justice and Movement Building (DRJaM).

In her article “Nonprofits as Battlegrounds for Democracy” at the website Nonprofit Quarterly, Cyndi Suarez takes us through the key arguments of Claire Dunning’s 2022 book Nonprofit Neighborhoods, which explores “how and why American city governments delegated the responsibility for solving urban inequality to the nonprofit sector.”

Buy the book from the University of Chicago Press

Supplemental reading: “How Nonprofits Can Navigate Political Engagement and Maintain Public Trust”
 

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