Remembering Alvin Ailey on the 50th Anniversary of His Company
by Roslyn Sulcas, The New York Times, November 28, 2008
by Roslyn Sulcas, The New York Times, November 28, 2008
Sunday, November 30, 2008
The Turning World (76)
U.S. Deportee Brings Street Dance to Street Boys of Cambodia
by Seth Mydans, The New York Times, November 29, 2008
by Seth Mydans, The New York Times, November 29, 2008
Thursday, November 27, 2008
Arts Policy in the New Administration
[Note: My thanks to choreographer Gina Gibney for bringing this document to my attention and to Andrea Snyder, Executive Director of Dance/USA, for providing the text for InfiniteBody.]
Arts Policy in the New Administration
November 21, 2008
Recommendations to the Office of Presidential Transition
on behalf of
American Association of Museums
Americans for the Arts
Association of Art Museum Directors
Association of Performing Arts Presenters
Chamber Music America
Chorus America
Dance/USA
League of American Orchestras
Literary Network
National Alliance for Musical Theatre
National Assembly of State Arts Agencies
National Council for Traditional Arts
National Performance Network
National Network for Folk Arts in Education
OPERA America
Theatre Communications Group
The arts and cultural community welcomes the opportunity to communicate with President-Elect Obama and his staff in re-imagining how the federal government can inspire and support creativity in communities nationwide through robust policies that advance participation in the arts for all Americans.
The following policy recommendations have been developed by the national associations listed above, whose memberships comprise thousands of American cultural institutions and artists as well as state and local government arts agencies. We speak as a collective voice for our members, who make enormous artistic, educational, and economic contributions to the well-being of the nation and its communities.
President-Elect Obama’s platform in support of the arts acknowledges the importance of American creativity and addresses a range of key federal policy areas that can be strengthened in the new Administration. We whole-heartedly affirm his goals of boosting support for arts education, improving cultural exchange and the U.S. visa process for foreign guest artists, mobilizing an ArtistCorps, increasing funding for the National Endowment for the Arts (NEA), providing health care for artists, and advancing fair tax policies for the arts. As you are aware, Federal policies affect the arts across a broad swath of issue areas involving many agencies, including the NEA, National Endowment for the Humanities, and Institute of Museum and Library Services, as well as the Departments of State, Interior, Treasury, Education, Transportation, Homeland Security, the Internal Revenue Service, and the Corporation for National and Community Service.
For many years, however, federal policy towards the arts has been fragmented and uncoordinated, lacking coherence and occasionally at cross-purposes with itself. To complement President-Elect Obama’s current arts platform, the following recommendations in several key areas address, in varying degrees of detail, ways in which federal leadership can amplify the capacity of the arts to help our nation meet its goals of increased prosperity, international diplomacy, and community vitality. We ask above all that the new Administration approach arts policy holistically. To that end, one of our recommendations is that it appoint a senior-level official in the White House itself. We also urge a more coherent presence for the arts within the various agencies and the opportunity for the arts to be included in forthcoming economic stimulus programs.
We hope that the Office of Presidential Transition will find these recommendations useful as it assembles the new team, and we would be glad to discuss any of them in further detail.
National Endowment for the Arts
Cultural Exchange
Arts Education in School, Work, and Life
National Service and the Arts
Appoint Senior-Level Administration Official to Coordinate Arts and Cultural Policy
The Role of the Arts in the Not-for-Profit Community
National Endowment for the Arts
Background
It is the mission of the National Endowment for the Arts (NEA) to foster the excellence, diversity, and vitality of the arts in the United States and to broaden public access to the arts. The NEA must provide support for building the capacity of American arts organizations and artists to create and share their work, by initiating national programs, partnering effectively with state and local arts agencies, and helping to ensure lifelong learning in the arts for every American. We urge the Administration to empower the National Endowment for the Arts with the authority and resources to broaden and deepen participation in the arts throughout the United States.
Policy Recommendations
Support a National Endowment for the Arts with the resources to provide national leadership.
· Create a capacity-building initiative to support artistic excellence, improve organizational financial structures, develop a national cultural arts infrastructure, and broaden participation by all Americans.
· Support arts education by engaging educators, artists, and arts organizations in extending the experience in arts education through lifelong learning, and collaborating with the U.S. Department of Education to advance the federal role in K-12 arts education.
· Make flexible grants that increase the capacity of American arts organizations and artists to create and present meaningful arts experiences for Americans, recognizing the value of establishing fellowships to individual artists, providing grants for multi-year support, and permitting arts service organizations the opportunity to regrant funds.
· Increase the NEA budget to $319.2 million, the FY 1992 peak budget level of $176 million adjusted for inflation and population as a step toward providing a more appropriate level of artistic benefits to the American people.
. Support a National Endowment for the Arts with the capacity to provide national leadership.
· Expand the research capacity of the NEA and the federal commitment to initiating research issues in the arts and cultural policy.
· Involve close consultation with artists, arts organizations, and the communities they serve in developing and advancing new programs and initiatives at the NEA as well as enhancing existing programs.
· Enhance support and technical assistance to the field through such means as instituting site visits and technical assistance grant support, and serving as a convener for policy panels.
· Nurture collaboration around goals shared by not-for-profit arts organizations and the commercial arts sector.
· Strengthen the National Council on the Arts through appointments broadly representative of artistic disciplines and concerns, geographically diverse, and characterizing the multiple and collective cultural interests of all Americans, and create a stronger forum for expanding the presence of and access to the arts in this country.
Cultural Exchange
Background
International cultural exchange in the performing, visual, literary, and folk arts is a valuable tool for addressing U.S. diplomatic goals, strengthening our country’s international relations, and enriching the skills of our artists. The shared experience, which transcends any language gap, can bring together people of different backgrounds, allowing cultural exchange to serve as a tool for diplomatic efforts. By reinforcing the commonalities among cultures and illuminating our unique differences, cultural exchanges foster understanding and, at a time when the U.S. image abroad is in dire need of improvement, investing in cultural exchange is essential.
Artists make powerful and effective ambassadors, and their skills have the profound ability to inspire both at home and abroad. Just as it is important to send American artists abroad, there is tremendous value in helping foreign artists share their talents with American audiences. Cultural exchange results in a more vibrant U.S. cultural scene and as artists experience and share their creative products, a broadening of their creative skills takes place. Additionally, cultural exchange serves to expand the development of international trade relations.
Policy Recommendations
Strengthen support for cultural policy among senior leadership at the Department of State and increase federal funding for cultural exchange programs. Leadership should provide greater staffing and funding resources to facilitate cultural exchange opportunities and raise the public visibility of federal support. Likewise, create a dedicated position within the Domestic Policy Council to focus on international cultural policy, which would allow cultural exchange to have a broader focus beyond the availability of program funding. By the joint effort of these leadership positions, cultural exchange could enter and enhance national and international policy discussions.
Encourage increased public/private partnerships to maximize resources used for the promotion of cultural exchange. Opening avenues to funding from multiple sources creates new opportunities to participate in cultural exchange and subsidized touring. Furthermore, public/private partnerships may enable participation in multi-year, sustainable exchange programs.
Expand Americans’ access to the cultures of the world through an increase in support for translations (fiction, poetry, drama, and books about the performing and visual arts).
Improve the U.S. visa and tax procedures for foreign guest artists, which are burdensome and prohibitive. Welcoming foreign artists to perform in the United States provides Americans the opportunity to experience a diversity of artistic talent and encourages a supportive climate for U.S. artists abroad.
Arts Education in School, Work, and Life
Background
In order to respond to the changing climate of global competitiveness, demographic shifts, and economic disparity, major changes to the delivery of education to our nation’s children are inevitable. As our nation contemplates these changes, and prepares students to be global citizens, the federal commitment to arts education must be strengthened so that the arts are implemented as a part of the core curriculum of our schools and are integral to every child’s development. The recommendations below are consistent with President-Elect Obama’s public statements and proposals in support of a comprehensive arts education for every student.
When needed most, the arts are being cut from our schools.
The arts are uniquely able to boost learning and achievement for young children, students from economically disadvantaged circumstances, and students needing remedial instruction.
A 2007 study from the Center on Education Policy has found that, since the enactment of NCLB, 30% of districts with at least one school identified as needing improvement have decreased instruction time for arts and music. These are the districts whose students are most responsive to the benefits of the arts, as demonstrated through numerous research studies.
The public, business leaders, and economic experts agree that the arts are essential to a complete education and preparing a 21st century workforce.
According to the Conference Board, there is overwhelming consensus from superintendents (98%) and corporate leaders (96%) that “creativity is of increasing importance to the U.S. workforce.” Of those corporate respondents looking for creative people, 85% said they were having difficulty finding qualified applicants with the creative characteristics they desired.
The New Commission on the Skills of the American Workforce, in its report Tough Choices or Tough Times (2006) states, “It is a world in which comfort with ideas and abstractions is the passport to a good job, in which creativity and innovation are the key to the good life…”
A Lake Research poll of 1,000 likely voters revealed that, “83% of voters believe that a greater focus on the arts – alongside science, technology, and math – would better prepare students to address the demands of the 21st century.”
Policy Recommendations
Prevent economic status and geographic location from denying students a comprehensive arts education.
Ensure equitable access to the full benefits of arts education when reauthorizing the Elementary and Secondary Education Act so that all, not just some, students can learn to their full potential.
Exercise leadership to encourage arts-based and other creative learning environments for academically at-risk students participating in Title I-funded programs.
Retain the arts in the definition of core academic subjects of learning and reauthorize the Arts in Education Programs of the U.S. Department of Education.
Fund after-school arts learning opportunities and support arts education partnerships between schools and community arts and cultural organizations.
Move federal policy beyond simply declaring the arts as a core academic subject to actually implementing arts education as an essential subject of learning.
Require states to issue annual public reports on the local status and condition of arts education and other core academic subjects.
Improve national data collection and research in arts education.
Invest in professional development opportunities for teachers in the arts.
Deploy arts education as an economic development strategy.
Authorize and encourage inclusion of arts learning in STEM (science, technology, engineering, and mathematics) initiatives in order to foster imagination and innovation. Without the arts, STEM falls short of its potential to advance education and workforce development.
Fully preparing students with the creative skills they will need to advance our nation’s position in the 21st century global economy requires implementing the arts as a core subject of learning and ensuring that all students attain cultural literacy.
Ensure that the full range of federal initiatives that advance workforce development, such as Department of Labor programs, provide training in the skills of creativity and imagination.
National Service and the Arts
Background
The Corporation for National and Community Service (CNS) works to fill various unmet needs, from education and housing to healthcare and community development. The arts bring individuals of all ages together, increase communication across cultural and ethnic boundaries, strengthen public education, and bring joy and entertainment to millions of Americans. Together, National Service and the arts create a powerful force, demonstrating the ability for Americans to take initiative, tap into their creative forces, and work together to address a broad array of unmet needs in our country.
The arts have a successful record of partnering with the Corporation for National and Community Service. AmeriCorps members have helped to build and administer summer arts camps in rural communities, designed and painted murals in low-income city districts, and strengthened programming at local arts councils. Learn and Serve America has partnered with arts organizations to strengthen arts education and community service education in the public schools in Florida and RSVP (Retired Senior Volunteer Program) members, under the SeniorCorps Program, have toured Delaware teaching art and music to children in after-school activities.
Additionally, a study issued by the National Endowment for the Arts in 2006, “The Arts and Civic Engagement: Involved in Arts, Involved in Life,” found that individuals who participate in the arts are more likely to volunteer in their communities and engage in positive civic activities.
A stronger, more clearly defined relationship between the arts and national service will enable our country to more effectively meet community needs in education, community understanding, and economic development while allowing millions of people to enjoy and participate in the arts.
Policy Recommendations
The Corporation for National and Community Service oversees three large programs: AmeriCorps, Learn and Serve America, and SeniorCorps. Arts organizations and art-related projects have a proven record of filling unmet community needs through AmeriCorps, Learn and Serve America, and SeniorCorps.
To strengthen the relationship between the three CNS core programs, arts organizations, and individual artists, it is recommended that CNS give specific reference to community arts projects and not-for-profit cultural organizations in the list of eligible national service programs as detailed in the National and Community Service Trust Act.
Further, CNS should create, within the Special Initiatives Program, a recognition program for a successful community arts project with a noticeable impact on unmet needs.
Expand and strengthen national service initiatives at senior administration levels, above and beyond the Corporation for National and Community Service.
Establish a “Volunteer Generation Fund” to help not-for-profit organizations recruit and manage more CNS volunteers.
Establish a Commission to study and improve how the federal government, not-for-profits, and the private sector can work together to meet national challenges effectively.
Establish a network of “Community Solution Funds,” venture capital funds for the not-for-profit sector to support innovation in the sector.
CNS should seek to develop a fourth program branch to be known as the ArtistCorps, to connect artists, not-for-profit arts organizations, volunteers, and CNS resources with communities across the country to fulfill unmet needs in education, community development, economic activity, and culturally diverse communities. To assist with this recommendation, it is suggested that CNS:
Include the word, “cultural,” as a primary need in the National and Community Service Act.
Partner with private initiatives in the visual, performing, literary, and folk and traditional arts, such as the Music National Service Initiative (www.musicnationalservice.org), which brings the skills of professional musicians to supplement music education in the public schools and provide lifelong learning opportunities for all ages.
Appoint Senior-Level Administration Official to Coordinate
Arts and Cultural Policy
Background
Policy issues relating to the arts and culture have reached a level of diversity and complexity where the National Endowment for the Arts’ grant-making and leadership role alone cannot sufficiently address our nation’s cultural policies. The enormous potential to integrate the creative economy, technology issues, changing demographics, and workforce development into policy through the federal government will require leadership directly from the White House.
There are various federal agencies that maintain programs relating to the arts: service at Corporation for National Service, international exchange at the State Department, and arts education at the U.S. Department of Education to name a few. Beyond these examples, there is greater opportunity to bundle together a portfolio that would provide leadership in economic development opportunities at the U.S. Department of Commerce, intellectual property issues, and other arts-related areas.
Current policy advisory groups similar to our recommendations exist, providing helpful guidance in how to construct the best fit:
The President’s Committee on the Arts and the Humanities is an advisory committee traditionally led by the First Lady that makes recommendations for awards and participates in diplomatic activities relating to international cultural events; however, this committee is outside the direct policy work developed by the President’s staff.
The Office of Science and Technology Policy (OSTP), in the Executive Office of the President provides a good example of policy work within the White House, led by a director with an Assistant to the President rank.
Policy Recommendations
The President should name a senior-level administration official in the Executive Office to coordinate arts and cultural policy, guiding initiatives from federal agencies responsible for tourism, education, economic development, cultural exchange, intellectual property policy, broadband access, and other arts-related areas.
This new Administration official or office would help to supply critical information for those exercising the “bully pulpit” of the White House, such as the President, the First Lady, and other top leadership figures. The bully pulpit could be used to encourage philanthropy and promote support of the arts and artists. It could further the search for model approaches that allow the arts to contribute to the economy and ensure that the American people’s access to artistic work is not limited by systemic choke points. Finally, it could urge all Americans to learn and engage personally in the arts.
The Role of the Arts in the Not-for-Profit Community
Background
Unique in the world in its size and scope, America’s not-for-profit sector provides a multitude of services that in most other nations are delivered by government agencies. From health care to social services to arts and culture, American not-for-profit organizations enrich lives in communities large and small nationwide. Acknowledged to be more efficient and flexible than the government and more service-focused than the corporate sector, not-for-profit organizations rely on contributions and volunteers, with individual citizens choosing where and when to donate their funds and services.
A large percentage of the cultural institutions in this country are not-for-profit, charitable organizations with a mission of service. This service comes in many forms, nourishing the imagination, providing emotional solace in times of need; educating children, teachers, and lifelong learners; and strengthening communities. As one leader has said, our institutions “reflect creativity, history, culture, ideas, innovation, exploration, discovery, diversity, freedom of expression, and the ideals of democracy.” They also include millions of people in a host of capacities, including artists, scholars, administrators, technicians, carpenters, accountants, and many more.
Not-for-profit arts organizations protect and add to America’s cultural heritage, making it accessible to all through exhibitions, performances, and online programming. These organizations give Americans access to the best of the past and present, providing inspiration, education, and entertainment. In presenting cultural heritage, they are governed by a commitment to their mission: excellence, integrity, and transparency. Historically, these institutions have relied on the generosity of donors and volunteers, with a very small percentage of funding coming from governmental or corporate sponsors. Ticket sales and admission fees alone do not come close to subsidizing the artistic presentations, educational offerings, and community-based programming of not-for-profit arts organizations. A significant percentage of direct financial support for non-for-profit arts organizations is derived from charitable giving, and without this support, the ability of these organizations to serve the public would be significantly diminished. Diverse types of charitable giving provide support for arts organizations of all sizes: individual contributions; planned giving; family, business, and corporate foundation grants; in-kind contributions; and gifts of property. There are no profits or shareholders, therefore income is put back into service to the community.
Policy Recommendations
Ensure that the fundamental characteristics of federal support for the not-for-profit community, which have built an unrivalled cultural sector that is the envy of the world, not only remain in place but are strengthened for the future.
Any mission-related income is exempt from federal tax, as is any endowment income.
Real property is exempt from property tax.
Charitable contributions should be fully tax-deductible.
Governance is by a board of volunteers.
Contributions of their own work by artists and writers should be tax deductible, as provided by the Artist-Museum Partnership Act (cosponsored by Senator Obama on February 25, 2008). The new Administration could include this as a provision in their budget proposal next year.
Arts Policy in the New Administration
November 21, 2008
Recommendations to the Office of Presidential Transition
on behalf of
American Association of Museums
Americans for the Arts
Association of Art Museum Directors
Association of Performing Arts Presenters
Chamber Music America
Chorus America
Dance/USA
League of American Orchestras
Literary Network
National Alliance for Musical Theatre
National Assembly of State Arts Agencies
National Council for Traditional Arts
National Performance Network
National Network for Folk Arts in Education
OPERA America
Theatre Communications Group
The arts and cultural community welcomes the opportunity to communicate with President-Elect Obama and his staff in re-imagining how the federal government can inspire and support creativity in communities nationwide through robust policies that advance participation in the arts for all Americans.
The following policy recommendations have been developed by the national associations listed above, whose memberships comprise thousands of American cultural institutions and artists as well as state and local government arts agencies. We speak as a collective voice for our members, who make enormous artistic, educational, and economic contributions to the well-being of the nation and its communities.
President-Elect Obama’s platform in support of the arts acknowledges the importance of American creativity and addresses a range of key federal policy areas that can be strengthened in the new Administration. We whole-heartedly affirm his goals of boosting support for arts education, improving cultural exchange and the U.S. visa process for foreign guest artists, mobilizing an ArtistCorps, increasing funding for the National Endowment for the Arts (NEA), providing health care for artists, and advancing fair tax policies for the arts. As you are aware, Federal policies affect the arts across a broad swath of issue areas involving many agencies, including the NEA, National Endowment for the Humanities, and Institute of Museum and Library Services, as well as the Departments of State, Interior, Treasury, Education, Transportation, Homeland Security, the Internal Revenue Service, and the Corporation for National and Community Service.
For many years, however, federal policy towards the arts has been fragmented and uncoordinated, lacking coherence and occasionally at cross-purposes with itself. To complement President-Elect Obama’s current arts platform, the following recommendations in several key areas address, in varying degrees of detail, ways in which federal leadership can amplify the capacity of the arts to help our nation meet its goals of increased prosperity, international diplomacy, and community vitality. We ask above all that the new Administration approach arts policy holistically. To that end, one of our recommendations is that it appoint a senior-level official in the White House itself. We also urge a more coherent presence for the arts within the various agencies and the opportunity for the arts to be included in forthcoming economic stimulus programs.
We hope that the Office of Presidential Transition will find these recommendations useful as it assembles the new team, and we would be glad to discuss any of them in further detail.
National Endowment for the Arts
Cultural Exchange
Arts Education in School, Work, and Life
National Service and the Arts
Appoint Senior-Level Administration Official to Coordinate Arts and Cultural Policy
The Role of the Arts in the Not-for-Profit Community
National Endowment for the Arts
Background
It is the mission of the National Endowment for the Arts (NEA) to foster the excellence, diversity, and vitality of the arts in the United States and to broaden public access to the arts. The NEA must provide support for building the capacity of American arts organizations and artists to create and share their work, by initiating national programs, partnering effectively with state and local arts agencies, and helping to ensure lifelong learning in the arts for every American. We urge the Administration to empower the National Endowment for the Arts with the authority and resources to broaden and deepen participation in the arts throughout the United States.
Policy Recommendations
Support a National Endowment for the Arts with the resources to provide national leadership.
· Create a capacity-building initiative to support artistic excellence, improve organizational financial structures, develop a national cultural arts infrastructure, and broaden participation by all Americans.
· Support arts education by engaging educators, artists, and arts organizations in extending the experience in arts education through lifelong learning, and collaborating with the U.S. Department of Education to advance the federal role in K-12 arts education.
· Make flexible grants that increase the capacity of American arts organizations and artists to create and present meaningful arts experiences for Americans, recognizing the value of establishing fellowships to individual artists, providing grants for multi-year support, and permitting arts service organizations the opportunity to regrant funds.
· Increase the NEA budget to $319.2 million, the FY 1992 peak budget level of $176 million adjusted for inflation and population as a step toward providing a more appropriate level of artistic benefits to the American people.
. Support a National Endowment for the Arts with the capacity to provide national leadership.
· Expand the research capacity of the NEA and the federal commitment to initiating research issues in the arts and cultural policy.
· Involve close consultation with artists, arts organizations, and the communities they serve in developing and advancing new programs and initiatives at the NEA as well as enhancing existing programs.
· Enhance support and technical assistance to the field through such means as instituting site visits and technical assistance grant support, and serving as a convener for policy panels.
· Nurture collaboration around goals shared by not-for-profit arts organizations and the commercial arts sector.
· Strengthen the National Council on the Arts through appointments broadly representative of artistic disciplines and concerns, geographically diverse, and characterizing the multiple and collective cultural interests of all Americans, and create a stronger forum for expanding the presence of and access to the arts in this country.
Cultural Exchange
Background
International cultural exchange in the performing, visual, literary, and folk arts is a valuable tool for addressing U.S. diplomatic goals, strengthening our country’s international relations, and enriching the skills of our artists. The shared experience, which transcends any language gap, can bring together people of different backgrounds, allowing cultural exchange to serve as a tool for diplomatic efforts. By reinforcing the commonalities among cultures and illuminating our unique differences, cultural exchanges foster understanding and, at a time when the U.S. image abroad is in dire need of improvement, investing in cultural exchange is essential.
Artists make powerful and effective ambassadors, and their skills have the profound ability to inspire both at home and abroad. Just as it is important to send American artists abroad, there is tremendous value in helping foreign artists share their talents with American audiences. Cultural exchange results in a more vibrant U.S. cultural scene and as artists experience and share their creative products, a broadening of their creative skills takes place. Additionally, cultural exchange serves to expand the development of international trade relations.
Policy Recommendations
Strengthen support for cultural policy among senior leadership at the Department of State and increase federal funding for cultural exchange programs. Leadership should provide greater staffing and funding resources to facilitate cultural exchange opportunities and raise the public visibility of federal support. Likewise, create a dedicated position within the Domestic Policy Council to focus on international cultural policy, which would allow cultural exchange to have a broader focus beyond the availability of program funding. By the joint effort of these leadership positions, cultural exchange could enter and enhance national and international policy discussions.
Encourage increased public/private partnerships to maximize resources used for the promotion of cultural exchange. Opening avenues to funding from multiple sources creates new opportunities to participate in cultural exchange and subsidized touring. Furthermore, public/private partnerships may enable participation in multi-year, sustainable exchange programs.
Expand Americans’ access to the cultures of the world through an increase in support for translations (fiction, poetry, drama, and books about the performing and visual arts).
Improve the U.S. visa and tax procedures for foreign guest artists, which are burdensome and prohibitive. Welcoming foreign artists to perform in the United States provides Americans the opportunity to experience a diversity of artistic talent and encourages a supportive climate for U.S. artists abroad.
Arts Education in School, Work, and Life
Background
In order to respond to the changing climate of global competitiveness, demographic shifts, and economic disparity, major changes to the delivery of education to our nation’s children are inevitable. As our nation contemplates these changes, and prepares students to be global citizens, the federal commitment to arts education must be strengthened so that the arts are implemented as a part of the core curriculum of our schools and are integral to every child’s development. The recommendations below are consistent with President-Elect Obama’s public statements and proposals in support of a comprehensive arts education for every student.
When needed most, the arts are being cut from our schools.
The arts are uniquely able to boost learning and achievement for young children, students from economically disadvantaged circumstances, and students needing remedial instruction.
A 2007 study from the Center on Education Policy has found that, since the enactment of NCLB, 30% of districts with at least one school identified as needing improvement have decreased instruction time for arts and music. These are the districts whose students are most responsive to the benefits of the arts, as demonstrated through numerous research studies.
The public, business leaders, and economic experts agree that the arts are essential to a complete education and preparing a 21st century workforce.
According to the Conference Board, there is overwhelming consensus from superintendents (98%) and corporate leaders (96%) that “creativity is of increasing importance to the U.S. workforce.” Of those corporate respondents looking for creative people, 85% said they were having difficulty finding qualified applicants with the creative characteristics they desired.
The New Commission on the Skills of the American Workforce, in its report Tough Choices or Tough Times (2006) states, “It is a world in which comfort with ideas and abstractions is the passport to a good job, in which creativity and innovation are the key to the good life…”
A Lake Research poll of 1,000 likely voters revealed that, “83% of voters believe that a greater focus on the arts – alongside science, technology, and math – would better prepare students to address the demands of the 21st century.”
Policy Recommendations
Prevent economic status and geographic location from denying students a comprehensive arts education.
Ensure equitable access to the full benefits of arts education when reauthorizing the Elementary and Secondary Education Act so that all, not just some, students can learn to their full potential.
Exercise leadership to encourage arts-based and other creative learning environments for academically at-risk students participating in Title I-funded programs.
Retain the arts in the definition of core academic subjects of learning and reauthorize the Arts in Education Programs of the U.S. Department of Education.
Fund after-school arts learning opportunities and support arts education partnerships between schools and community arts and cultural organizations.
Move federal policy beyond simply declaring the arts as a core academic subject to actually implementing arts education as an essential subject of learning.
Require states to issue annual public reports on the local status and condition of arts education and other core academic subjects.
Improve national data collection and research in arts education.
Invest in professional development opportunities for teachers in the arts.
Deploy arts education as an economic development strategy.
Authorize and encourage inclusion of arts learning in STEM (science, technology, engineering, and mathematics) initiatives in order to foster imagination and innovation. Without the arts, STEM falls short of its potential to advance education and workforce development.
Fully preparing students with the creative skills they will need to advance our nation’s position in the 21st century global economy requires implementing the arts as a core subject of learning and ensuring that all students attain cultural literacy.
Ensure that the full range of federal initiatives that advance workforce development, such as Department of Labor programs, provide training in the skills of creativity and imagination.
National Service and the Arts
Background
The Corporation for National and Community Service (CNS) works to fill various unmet needs, from education and housing to healthcare and community development. The arts bring individuals of all ages together, increase communication across cultural and ethnic boundaries, strengthen public education, and bring joy and entertainment to millions of Americans. Together, National Service and the arts create a powerful force, demonstrating the ability for Americans to take initiative, tap into their creative forces, and work together to address a broad array of unmet needs in our country.
The arts have a successful record of partnering with the Corporation for National and Community Service. AmeriCorps members have helped to build and administer summer arts camps in rural communities, designed and painted murals in low-income city districts, and strengthened programming at local arts councils. Learn and Serve America has partnered with arts organizations to strengthen arts education and community service education in the public schools in Florida and RSVP (Retired Senior Volunteer Program) members, under the SeniorCorps Program, have toured Delaware teaching art and music to children in after-school activities.
Additionally, a study issued by the National Endowment for the Arts in 2006, “The Arts and Civic Engagement: Involved in Arts, Involved in Life,” found that individuals who participate in the arts are more likely to volunteer in their communities and engage in positive civic activities.
A stronger, more clearly defined relationship between the arts and national service will enable our country to more effectively meet community needs in education, community understanding, and economic development while allowing millions of people to enjoy and participate in the arts.
Policy Recommendations
The Corporation for National and Community Service oversees three large programs: AmeriCorps, Learn and Serve America, and SeniorCorps. Arts organizations and art-related projects have a proven record of filling unmet community needs through AmeriCorps, Learn and Serve America, and SeniorCorps.
To strengthen the relationship between the three CNS core programs, arts organizations, and individual artists, it is recommended that CNS give specific reference to community arts projects and not-for-profit cultural organizations in the list of eligible national service programs as detailed in the National and Community Service Trust Act.
Further, CNS should create, within the Special Initiatives Program, a recognition program for a successful community arts project with a noticeable impact on unmet needs.
Expand and strengthen national service initiatives at senior administration levels, above and beyond the Corporation for National and Community Service.
Establish a “Volunteer Generation Fund” to help not-for-profit organizations recruit and manage more CNS volunteers.
Establish a Commission to study and improve how the federal government, not-for-profits, and the private sector can work together to meet national challenges effectively.
Establish a network of “Community Solution Funds,” venture capital funds for the not-for-profit sector to support innovation in the sector.
CNS should seek to develop a fourth program branch to be known as the ArtistCorps, to connect artists, not-for-profit arts organizations, volunteers, and CNS resources with communities across the country to fulfill unmet needs in education, community development, economic activity, and culturally diverse communities. To assist with this recommendation, it is suggested that CNS:
Include the word, “cultural,” as a primary need in the National and Community Service Act.
Partner with private initiatives in the visual, performing, literary, and folk and traditional arts, such as the Music National Service Initiative (www.musicnationalservice.org), which brings the skills of professional musicians to supplement music education in the public schools and provide lifelong learning opportunities for all ages.
Appoint Senior-Level Administration Official to Coordinate
Arts and Cultural Policy
Background
Policy issues relating to the arts and culture have reached a level of diversity and complexity where the National Endowment for the Arts’ grant-making and leadership role alone cannot sufficiently address our nation’s cultural policies. The enormous potential to integrate the creative economy, technology issues, changing demographics, and workforce development into policy through the federal government will require leadership directly from the White House.
There are various federal agencies that maintain programs relating to the arts: service at Corporation for National Service, international exchange at the State Department, and arts education at the U.S. Department of Education to name a few. Beyond these examples, there is greater opportunity to bundle together a portfolio that would provide leadership in economic development opportunities at the U.S. Department of Commerce, intellectual property issues, and other arts-related areas.
Current policy advisory groups similar to our recommendations exist, providing helpful guidance in how to construct the best fit:
The President’s Committee on the Arts and the Humanities is an advisory committee traditionally led by the First Lady that makes recommendations for awards and participates in diplomatic activities relating to international cultural events; however, this committee is outside the direct policy work developed by the President’s staff.
The Office of Science and Technology Policy (OSTP), in the Executive Office of the President provides a good example of policy work within the White House, led by a director with an Assistant to the President rank.
Policy Recommendations
The President should name a senior-level administration official in the Executive Office to coordinate arts and cultural policy, guiding initiatives from federal agencies responsible for tourism, education, economic development, cultural exchange, intellectual property policy, broadband access, and other arts-related areas.
This new Administration official or office would help to supply critical information for those exercising the “bully pulpit” of the White House, such as the President, the First Lady, and other top leadership figures. The bully pulpit could be used to encourage philanthropy and promote support of the arts and artists. It could further the search for model approaches that allow the arts to contribute to the economy and ensure that the American people’s access to artistic work is not limited by systemic choke points. Finally, it could urge all Americans to learn and engage personally in the arts.
The Role of the Arts in the Not-for-Profit Community
Background
Unique in the world in its size and scope, America’s not-for-profit sector provides a multitude of services that in most other nations are delivered by government agencies. From health care to social services to arts and culture, American not-for-profit organizations enrich lives in communities large and small nationwide. Acknowledged to be more efficient and flexible than the government and more service-focused than the corporate sector, not-for-profit organizations rely on contributions and volunteers, with individual citizens choosing where and when to donate their funds and services.
A large percentage of the cultural institutions in this country are not-for-profit, charitable organizations with a mission of service. This service comes in many forms, nourishing the imagination, providing emotional solace in times of need; educating children, teachers, and lifelong learners; and strengthening communities. As one leader has said, our institutions “reflect creativity, history, culture, ideas, innovation, exploration, discovery, diversity, freedom of expression, and the ideals of democracy.” They also include millions of people in a host of capacities, including artists, scholars, administrators, technicians, carpenters, accountants, and many more.
Not-for-profit arts organizations protect and add to America’s cultural heritage, making it accessible to all through exhibitions, performances, and online programming. These organizations give Americans access to the best of the past and present, providing inspiration, education, and entertainment. In presenting cultural heritage, they are governed by a commitment to their mission: excellence, integrity, and transparency. Historically, these institutions have relied on the generosity of donors and volunteers, with a very small percentage of funding coming from governmental or corporate sponsors. Ticket sales and admission fees alone do not come close to subsidizing the artistic presentations, educational offerings, and community-based programming of not-for-profit arts organizations. A significant percentage of direct financial support for non-for-profit arts organizations is derived from charitable giving, and without this support, the ability of these organizations to serve the public would be significantly diminished. Diverse types of charitable giving provide support for arts organizations of all sizes: individual contributions; planned giving; family, business, and corporate foundation grants; in-kind contributions; and gifts of property. There are no profits or shareholders, therefore income is put back into service to the community.
Policy Recommendations
Ensure that the fundamental characteristics of federal support for the not-for-profit community, which have built an unrivalled cultural sector that is the envy of the world, not only remain in place but are strengthened for the future.
Any mission-related income is exempt from federal tax, as is any endowment income.
Real property is exempt from property tax.
Charitable contributions should be fully tax-deductible.
Governance is by a board of volunteers.
Contributions of their own work by artists and writers should be tax deductible, as provided by the Artist-Museum Partnership Act (cosponsored by Senator Obama on February 25, 2008). The new Administration could include this as a provision in their budget proposal next year.
Cheam Shapiro and Zorn at the Guggenheim
Sophiline Cheam Shapiro and John Zorn Find Common Ground
by Steve Smith, The New York Times, November 26, 2008
by Steve Smith, The New York Times, November 26, 2008
Tuesday, November 25, 2008
The dance of giving
The holidays are almost here, and there are many fresh ways to be mindful and generous in this challenging time. How about:
With thanks for everything that dance and dance artists have given me over the many years, I wish you all a very happy Thanksgiving and a joyous, rewarding holiday season!
Eva Yaa Asantewaa
- a donation, in the name of someone you love, to one of your favorite small, struggling dance companies or organizations
- giving the gift of a dance ticket to a co-worker, friend or family member
- accompanying someone, who does not attend dance, to his or her first dance show
- offering volunteer time or a special service to a dance institution that means a lot to you
- helping to spread the word about a dance show that you've seen and enjoyed
With thanks for everything that dance and dance artists have given me over the many years, I wish you all a very happy Thanksgiving and a joyous, rewarding holiday season!
Eva Yaa Asantewaa
Monday, November 24, 2008
The Turning World (75)
Jidda Journal - As Taboos Ease, Saudi Girl Group Dares to Rock
by Robert F. Worth, The New York Times, November 23, 2008
by Robert F. Worth, The New York Times, November 23, 2008
Go see "Black Watch" now!
Great news!
The return run of National Theatre of Scotland's Black Watch, at St. Ann's Warehouse in the Dumbo section of Brooklyn, has been extended through December 21. This rivetting, deeply-moving production explores the contemporary experience of a Scottish regiment deployed to Iraq and that regiment's renowned history.
I was knocked out by the imaginative, powerful staging and performances and, while writer Gregory Burke, director John Tiffany and every single contributor should be highly praised, let's give a standing ovation especially to Steven Hoggett, NTS's associate director for movement. Movement is an integral, essential, magical aspect of the storytelling in Black Watch and, as movers, the eleven actors could not be better.
Hurry and get your tickets!
The return run of National Theatre of Scotland's Black Watch, at St. Ann's Warehouse in the Dumbo section of Brooklyn, has been extended through December 21. This rivetting, deeply-moving production explores the contemporary experience of a Scottish regiment deployed to Iraq and that regiment's renowned history.
I was knocked out by the imaginative, powerful staging and performances and, while writer Gregory Burke, director John Tiffany and every single contributor should be highly praised, let's give a standing ovation especially to Steven Hoggett, NTS's associate director for movement. Movement is an integral, essential, magical aspect of the storytelling in Black Watch and, as movers, the eleven actors could not be better.
Hurry and get your tickets!
Kinetic Cinema closes out its season
On Monday December 1 (7:30pm), Kinetic Cinema will feature new and old works on American culture and life in war-times. The first half of the program will feature sisters Kerrie Welsh (video artist) and Sasha Welsh (choreographer) who will show a live performance of an in-progress excerpt from their current collaboration, Trace Decay, as well as films and videos by historically important female figures that have influenced their thinking about gender, media, violence and the aesthetics of war.
The second half of the program will be a selection of films that have influenced film-maker Anna Brady Nuse and composer J Why in the making of their latest videodance collaboration, Fünf ‘n’ Twist. Drawing from classic images of American adolescence in the 20th Century, Fünf ‘n’ Twist is a satirical teenage odyssey that takes place at the prom and grapples with issues of freedom and authority. In addition to showing a rough cut of the work, the artists will discuss the how their project came about with marketing executive Calvin Wilson.
| | Monday Dec 1st, 7:30pm $10 Admission Reservations: 212.254.5277 Interborough Repertory Theater (IRT) 154 Christopher Street, Suite 3B (Greenwich & Washington Streets) Manhattan Trains: 1, PATH to Christopher Street CLICK FOR MORE INFO |
Saturday, November 22, 2008
Cute!
Did you think there was any chance that this blog would be the only one not showing this videocam?
Video chat rooms at Ustream
Shiba Inu puppies contend for InfiniteBody mascot.
Video chat rooms at Ustream
Shiba Inu puppies contend for InfiniteBody mascot.
Still not enough tap in your life?
Tappy Holidays!--the annual winter extravaganza created by tap masters Ayodele Casel and Sarah Savelli--returns to Symphony Space, on Friday, December 12. Check it out!
Dormeshia Sumbry-Edwards: Tap hostess with the mostest
Join critically-acclaimed tap dancer/actress Dormeshia Sumbry-Edwards for Open Floor & Open Mic Night at Camaradas El Barrio.
New York City's finest song and dance, featuring tap dancers accompanied by a live jazz band. Cover charge $7. Drinks and food for purchase. Kitchen open late.
Mondays, November 24 and December 29 -- 8pm to 11pm
Camaradas El Barrio
2241 First Avenue at 115th Street, Manhattan
212-348-2703
Presented by Camaradas El Barrio and Divine Rhythm Productions
New York City's finest song and dance, featuring tap dancers accompanied by a live jazz band. Cover charge $7. Drinks and food for purchase. Kitchen open late.
Mondays, November 24 and December 29 -- 8pm to 11pm
Camaradas El Barrio
2241 First Avenue at 115th Street, Manhattan
212-348-2703
Presented by Camaradas El Barrio and Divine Rhythm Productions
Jaroslow's "Sixty"
[Note: Correction of closing date.]
For the life of me, I cannot understand how most Americans--even some smart ones--miss the exceptional value of dance and dancers. One could not ask for more from art and performance than we are receiving from Risa Jaroslow & Dancers in Sixty, this week, at Danspace Project.
In 2007, prior to her sixtieth birthday, Jaroslow solicited dance ideas from a range of people she'd known. From their varied ideas, she selected nine, worked them over and came up with a surprisingly seamless, if frequently nutty, blend of fifteen sections in sixty minutes. Sixty is a work of ferocity, wit and charm. It's a symphony of relationships rendered with full-tilt intensity and sensitivity by Jaroslow and her delicious, gustsy company--Gabriel Forestieri, Luke Gutgsell, Elise Knudson, Rachel Lehrer and Paul Singh--plus a large corps of guests, including Vicky Shick.
Do your heart a favor and go. There's just one more show--tonight at 8:30pm.
Tickets (or 866-811-4111)
Risa Jaroslow & Dancers Web site
Jaroslow's journal: notes on the creation of Sixty
For the life of me, I cannot understand how most Americans--even some smart ones--miss the exceptional value of dance and dancers. One could not ask for more from art and performance than we are receiving from Risa Jaroslow & Dancers in Sixty, this week, at Danspace Project.
In 2007, prior to her sixtieth birthday, Jaroslow solicited dance ideas from a range of people she'd known. From their varied ideas, she selected nine, worked them over and came up with a surprisingly seamless, if frequently nutty, blend of fifteen sections in sixty minutes. Sixty is a work of ferocity, wit and charm. It's a symphony of relationships rendered with full-tilt intensity and sensitivity by Jaroslow and her delicious, gustsy company--Gabriel Forestieri, Luke Gutgsell, Elise Knudson, Rachel Lehrer and Paul Singh--plus a large corps of guests, including Vicky Shick.
Do your heart a favor and go. There's just one more show--tonight at 8:30pm.
Tickets (or 866-811-4111)
Risa Jaroslow & Dancers Web site
Jaroslow's journal: notes on the creation of Sixty
New digs for Paul Taylor troupe
Paul Taylor’s New Home
by Daniel J. Wakin, The New York Times, November 21, 2008
by Daniel J. Wakin, The New York Times, November 21, 2008
Friday, November 21, 2008
Addressing race: Thank you, DanceNYC!
Last evening at the Ailey studios, DanceNYC--under the courageous and energetic leadership of its director, Michelle Burkhart--hosted a valuable conversation on the issue of race in the dance field, focused on the scarcity of arts administrators of color. The organization's first town hall on race, held in 2007, was devoted to dance artists.
Researcher Ebonie Pittman presented the results of her study of sixteen dance organizations, including the unsurprising but still unacceptable conclusion that the preponderance of dance administrators and dance audiences are Caucasian. That means that the majority of the people doing marketing and development--and thus, tasked with reaching out to a diverse potential audience--do not reflect the diversity of that community. Pittman said that she concluded that, while she found no evidence of blatant discrimination, it was clear that the dance field has not been keeping up with communities that should be served.
Pittman's interesting presentation was followed by a lively discussion, moderated by Baraka Sele (Assistant VP for Programming and Curator/Producer at New Jersey Performing Arts Center) and including George Banks, author of The Issue of Race, Sharon Williams, Director of Development, Dance Theatre of Harlem, and Cassandra Oliveras, Director of Marketing, Ballet Hispanico.
Among other topics, the panelists and audience addressed barriers to inclusivity and solutions to the lack of awareness of opportunities in the field of arts administration. They cited the need for effective training of future administrators and the significance of mentorship from accessible veterans in the field.
To paraphrase one of Sele's remarks, talking about a problem or concern is indeed a form of action. Clearly, these conversations within the dance community are essential to our development and must continue. I commend DanceNYC for taking up this task, and I look forward to their future forums on race.
To connect with DanceNYC, click here.
Researcher Ebonie Pittman presented the results of her study of sixteen dance organizations, including the unsurprising but still unacceptable conclusion that the preponderance of dance administrators and dance audiences are Caucasian. That means that the majority of the people doing marketing and development--and thus, tasked with reaching out to a diverse potential audience--do not reflect the diversity of that community. Pittman said that she concluded that, while she found no evidence of blatant discrimination, it was clear that the dance field has not been keeping up with communities that should be served.
Pittman's interesting presentation was followed by a lively discussion, moderated by Baraka Sele (Assistant VP for Programming and Curator/Producer at New Jersey Performing Arts Center) and including George Banks, author of The Issue of Race, Sharon Williams, Director of Development, Dance Theatre of Harlem, and Cassandra Oliveras, Director of Marketing, Ballet Hispanico.
Among other topics, the panelists and audience addressed barriers to inclusivity and solutions to the lack of awareness of opportunities in the field of arts administration. They cited the need for effective training of future administrators and the significance of mentorship from accessible veterans in the field.
To paraphrase one of Sele's remarks, talking about a problem or concern is indeed a form of action. Clearly, these conversations within the dance community are essential to our development and must continue. I commend DanceNYC for taking up this task, and I look forward to their future forums on race.
To connect with DanceNYC, click here.
The Turning World (74)
Myanmar Court Hands Comedian 45-Year Prison Term
by The Associated Press, The New York Times, November 21, 2008
by The Associated Press, The New York Times, November 21, 2008
The Turning World (73)
The End of Feminism As We Know It?
by Rebecca Walker, The Root, November 28, 2008
Bring on the Michelle Obama kind of feminism! Yes, we can!
by Rebecca Walker, The Root, November 28, 2008
Bring on the Michelle Obama kind of feminism! Yes, we can!
The Turning World (72)
An Open Letter to Barack Obama
by Alice Walker, The Root, November 5, 2008
Only Alice Walker could write this piece.
by Alice Walker, The Root, November 5, 2008
Only Alice Walker could write this piece.
Danspace Project seeks Marketing Manager
Danspace Project seeks a full-time Marketing Manager to join the staff of our vital dance presenting organization. Please read the full job description here and apply today.
- Primary responsibility will be the organization and facilitation of marketing endeavors through media, print, email and online strategies.
- Specific tasks include creating annual marketing timeline, coordination of season brochures, creation and distribution of press releases, liaising with press constituents, creation/layout of weekly programs/playbills for Danspace performances, and website maintenance.
- Additional duties include coordination of development marketing materials, e-marketing, designing postcards and flyers for performances and events, and maintenance of press archives and other files.
Thursday, November 20, 2008
The Turning World (71)
Dancing in Another Language
by Deborah Friedes, Dance in Israel blog, November 14, 2008
by Deborah Friedes, Dance in Israel blog, November 14, 2008
Movement Research Studies Project Series moves along
Movement Research Studies Project Series
NO RESERVATIONS and ADMISSION IS FREE
An artist-curated series of panel discussions, performances and other formats that focus on provocative and timely issues of aesthetics and philosophy in the intersection of dance and social politics, confronting and instigated by the dance and performance community.
LOCATION: Judson Memorial Church, 55 Washington Square South, Manhattan
The first lecture was a huge success! The Unknown Judson: a slide lecture by art historian Barbara Moore (October 28, 2008) explored the legendary (and largely untapped) archive of tens of thousands of images by Peter Moore, concentrating on activities in, around and growing out of Judson Memorial Church in the 1960s.
Says artist Milka Djordjevich: "Barbara Moore's slide lecture fills in the gaps and paints a picture of a rich experimental dance and performance scene that goes beyond the famous participants of Robert Dunn's workshop. She remembers and vividly describes a variety of experimental performances, driven by the stunning photographs of Peter Moore. They serve as a reminder of what artists and work have influenced contemporary work, and also brings to question what may be forgotten from what we see today."
The next two slide lectures in the series explore both seminal and obscure events in the history of performance through images from the legendary photo archive of Peter Moore.
December 9th will focus on the 1960s. January 20th will focus on the 1970s. Both events take place at the Judson Memorial Church Meeting Hall.
Known & Unknown - Happenings & other events as photographed by Peter Moore
Tuesday, December 9, 2008 (7pm) – 1960s
Tuesday, January 20, 2009 (7pm) – 1970s
Scaling "The scales of memory"
In Les écailles de la mémoire--a profound and fresh collaboration between Brooklyn's Urban Bush Women and Senegal's Compagnie Jant-Bi--the collision of genders and cultures with common roots creates an explosion of sparks. UBW's chameleon-like dancers and the dynamic all-male corps deployed by Germaine Acogny are, simply, made for each other.
Both troupes have claimed the stage as their throne and dance as their gilded frame. When such commanding, magisterial performers as these can also make room for cartoonish physical humor and forthright sexiness--claiming those things, too, as their province--what can a humble audience member do but accept the role, the gift, of watching them?
Fabrice Bouillon-LaForest's forceful and enveloping score and J. Russell Sandifer's moody, sculptural lighting provide a powerful sense of space and place. Mind the fact that the human body is 70% water; the conjoined forces of Jawole Willa Jo Zollar's dancers and Acogny's troupe, costumed by Naoko Nagata, seem to be rolling the waves of the fearsome and often tragic Atlantic through spines and limbs and across the darkened floor of the stage. It is the mighty Atlantic that divides them and unites them, the trickster Atlantic that holds the deep impression of their history and opens the way to their future.
Try for a ticket for tomorrow night or Saturday, both at 7:30. Also, on Friday, November 21, at 6pm, choreographer Reggie Wilson will hold an artist talk with Germaine Acogny and Jawole Willa Jo Zollar in the Hillman Attic Studio at BAM ($8).
2008 Next Wave Festival
Brooklyn Academy of Music Gilman Opera House
30 Lafayette Avenue
718-636-4100
Both troupes have claimed the stage as their throne and dance as their gilded frame. When such commanding, magisterial performers as these can also make room for cartoonish physical humor and forthright sexiness--claiming those things, too, as their province--what can a humble audience member do but accept the role, the gift, of watching them?
Fabrice Bouillon-LaForest's forceful and enveloping score and J. Russell Sandifer's moody, sculptural lighting provide a powerful sense of space and place. Mind the fact that the human body is 70% water; the conjoined forces of Jawole Willa Jo Zollar's dancers and Acogny's troupe, costumed by Naoko Nagata, seem to be rolling the waves of the fearsome and often tragic Atlantic through spines and limbs and across the darkened floor of the stage. It is the mighty Atlantic that divides them and unites them, the trickster Atlantic that holds the deep impression of their history and opens the way to their future.
Try for a ticket for tomorrow night or Saturday, both at 7:30. Also, on Friday, November 21, at 6pm, choreographer Reggie Wilson will hold an artist talk with Germaine Acogny and Jawole Willa Jo Zollar in the Hillman Attic Studio at BAM ($8).
2008 Next Wave Festival
Brooklyn Academy of Music Gilman Opera House
30 Lafayette Avenue
718-636-4100
Conversation for "The End of Time": Greco and Harrell
Coffee and Conversation with Stephen Greco and choreographer Trajal Harrell about "Quartet for The End of Time"
Dance Theater Workshop blog, November 19, 2008
Dance Theater Workshop blog, November 19, 2008
A preview trip to "ZsaZsaLand"
Please join me on Saturday, November 22, for a post-performance discussion with choreographer Jill Sigman and the creative team on her work-in-progress, ZsaZsaLand, at Dance Theater Workshop.
As part of DTW's Studio Series, Sigman will be showing excerpts from ZsaZsaLand, which is slated for premiere in 2009, on Friday, November 21 and Saturday, November 22 at 7:30pm. The piece includes sound by joro de boro and is performed by Toby Billowitz, Donna Costello, Jill Sigman, and special guests.
Dance Theater Workshop
219 West 19th Street (7th-8th Avenues)
Box office: 212.924.0077
Suggested donation: $5
jill sigman/thinkdance
As part of DTW's Studio Series, Sigman will be showing excerpts from ZsaZsaLand, which is slated for premiere in 2009, on Friday, November 21 and Saturday, November 22 at 7:30pm. The piece includes sound by joro de boro and is performed by Toby Billowitz, Donna Costello, Jill Sigman, and special guests.
Dance Theater Workshop219 West 19th Street (7th-8th Avenues)
Box office: 212.924.0077
Suggested donation: $5
jill sigman/thinkdance
Wednesday, November 19, 2008
Gutierrez to reprise performance protest of Afghanistan invasion
Miguel Gutierrez joins nationwide contemplative action of protest, reflection and solidarity
Dance Theater Workshop blog, November 11, 2008
Additional information
Dance Theater Workshop blog, November 11, 2008
Additional information
U.S. debut for persecuted gay griot of Senegal
Persecuted in Africa, Finding Refuge in New York
by Kirk Sempler and Lydia Polgreen, The New York Times, October 5, 2008
See Pape Mbaye make his U.S. debut on Friday, November 29 at The Cutting Room (19 West 24th Street) at 7:30pm.
Mbaye will be interviewed about his experiences, take questions from the audience, and give a performance of his drumming, singing and dancing.
Tickets are available at 212-352-3101 or via SpinCycle.
by Kirk Sempler and Lydia Polgreen, The New York Times, October 5, 2008
See Pape Mbaye make his U.S. debut on Friday, November 29 at The Cutting Room (19 West 24th Street) at 7:30pm.
Mbaye will be interviewed about his experiences, take questions from the audience, and give a performance of his drumming, singing and dancing.
Tickets are available at 212-352-3101 or via SpinCycle.
Tuesday, November 18, 2008
The Zine Show
What happens when a Do-It-Yourself publication promoting the arts and ideas of the New York City-based dance community meets a non-commercial, all-volunteer, free-form community radio station based in Washington Heights?
zine #3 features work by contributors Andy's MoM / Christine Elmo, Hilary Chapman, Matthew Heggem, Joshua Hudelson, Roche Janken, Joshua Johnson, Karin Levitas, Susan Osberg, Chris Peck, Stella Rabbit, Kristen Schifferdecker, Sasha Welsh, and Sarah Young.
--
the zine:
Promoting the art and ideas of the NYC-based dance community through Do-It-Yourself publication.
thezine.email@gmail.com
The answer is...
The ZINE SHOW on Washington Heights Free Radio!
The Zine Show
kicks off tomorrow evening
Wednesday, November 19 at 5pm
***
to listen to the broadcast with itunes or winamp--and for more info on WHFR--go to
www.whfr.org
**
The Zine Show
kicks off tomorrow evening
Wednesday, November 19 at 5pm
***
to listen to the broadcast with itunes or winamp--and for more info on WHFR--go to
www.whfr.org
**
the ZINE SHOW is now broadcasting monthly on WHFR; each show features the work and ideas of a different zine contributor. stay tuned for our schedule.
tomorrow's show features the mighty collaboration between Jill Sigman / thinkdance and DJ Joro de Boro as they rev up for their upcoming Studio Series at Dance Theater Workshop.
and...
keep your eyes peeled for zine #3, hitting the streets (and local theaters and studios) this weekend.
zine #3 features work by contributors Andy's MoM / Christine Elmo, Hilary Chapman, Matthew Heggem, Joshua Hudelson, Roche Janken, Joshua Johnson, Karin Levitas, Susan Osberg, Chris Peck, Stella Rabbit, Kristen Schifferdecker, Sasha Welsh, and Sarah Young.
--
the zine:
Promoting the art and ideas of the NYC-based dance community through Do-It-Yourself publication.
thezine.email@gmail.com
Monday, November 17, 2008
Layard Thompson: Prince of Cups
Collecting all Cups!
Dance Theater Workshop blog, November 13, 2008
Here's a charming opportunity to recycle and creatively contribute to an installation for Bessie Award winner, Layard Thompson!
Dance Theater Workshop blog, November 13, 2008
Here's a charming opportunity to recycle and creatively contribute to an installation for Bessie Award winner, Layard Thompson!
Creating "The Scales of Memory"
Compagnie Jant-Bi of Senegal and Urban Bush Women of Brooklyn Come Together
by Claudia La Rocco, The New York Times, November 16, 2008
by Claudia La Rocco, The New York Times, November 16, 2008
Parkinson's and dance
Dancing moves Parkinson's patients to a better place
An agility of the spirit partners with the body
by Mary Brophy Marcus, USA Today, November 13, 2008
An agility of the spirit partners with the body
by Mary Brophy Marcus, USA Today, November 13, 2008
Sunday, November 16, 2008
Wednesday, November 12, 2008
Tuesday, November 11, 2008
Makeba: an appraisal
Miriam Makeba Was the Voice of South Africa Through Apartheid and Beyond
by Jon Pareles, The New York Times, November 10, 2008
by Jon Pareles, The New York Times, November 10, 2008
Monday, November 10, 2008
Miriam Makeba, dead at 76
Miriam Makeba, Singer, Dies at 76
by Alan Cowell, The New York Times, November 10, 2008
My sorrow at the loss of this great and inspiring South African artist-activist--particularly at this moment in our own history--is immense.
by Alan Cowell, The New York Times, November 10, 2008
My sorrow at the loss of this great and inspiring South African artist-activist--particularly at this moment in our own history--is immense.
Friday, November 7, 2008
UPDATE: Race in dance: Dance/NYC
Updated information: new time; location and additional panelists announced
Dance/NYC plans to revisit the issue of race in dance, this time with a focus on arts administration, on Thursday, November 20, 7-9pm.
Moderator: Baraka Sele
Columbia Graduate Ebonie Pittman will reveal her findings from a six-month endeavor researching the state of race in dance behind the scenes of the dance community. Is there a lack of diversity on dance boards? Who is really running culturally-specific organizations? Does the administration mirror what is presented on stage? In light of our recent Presidential selection, do you think the discussion will end and should it? Come discuss and debate the issue with the field.
George Banks, Author, The Issue of Race
Sharon Williams, Director of Development, Dance Theatre of Harlem
Cassandra Oliveras, Director of Marketing, Ballet Hispanico
*more panelists TBA
Location:
The Ailey Studios
405 West 55th Street (at 9th Ave.)
Free with required online reservation: Click here.
Dance/NYC plans to revisit the issue of race in dance, this time with a focus on arts administration, on Thursday, November 20, 7-9pm.
Moderator: Baraka Sele
Columbia Graduate Ebonie Pittman will reveal her findings from a six-month endeavor researching the state of race in dance behind the scenes of the dance community. Is there a lack of diversity on dance boards? Who is really running culturally-specific organizations? Does the administration mirror what is presented on stage? In light of our recent Presidential selection, do you think the discussion will end and should it? Come discuss and debate the issue with the field.
George Banks, Author, The Issue of Race
Sharon Williams, Director of Development, Dance Theatre of Harlem
Cassandra Oliveras, Director of Marketing, Ballet Hispanico
*more panelists TBA
Location:
The Ailey Studios
405 West 55th Street (at 9th Ave.)
Free with required online reservation: Click here.
Wednesday, November 5, 2008
The Turning World (70)
It is with great joy and pride that I share with you the following resource!
Today's Front Pages
Newseum: World's Most Interactive Museum
Today's Front Pages
Newseum: World's Most Interactive Museum
Gesel Mason: Body and Soul podcast
Dancer-choreographer Gesel Mason--of the DC-area based Mason/Rhynes Productions and Gesel Mason Performance Projects--discusses her wide-ranging work on behalf of diverse artists and audiences, as well as her celebrated project--"No Boundaries"--featuring historic and contemporary dance by Black choreographers such as Donald McKayle, Bebe Miller, David Roussève and Jawole Willa Jo Zollar.
Program notes--http://infinitebody.blogspot.com. Guest info at http://www.mason-rhynes.org and http://www.gmasonprojects.com. (c)2008, Eva Yaa Asantewaa
MP3 File
Program notes--http://infinitebody.blogspot.com. Guest info at http://www.mason-rhynes.org and http://www.gmasonprojects.com. (c)2008, Eva Yaa Asantewaa
MP3 File
Program Notes: Upcoming on "Body and Soul"
Gesel Mason--award-winning dancer and choreographer based in the DC metropolitan area--brings passion for community, communication and justice to all of her provocative work on behalf of the arts, particularly artists of color. On the eve of the election of Barack Obama to the presidency of the United States, we spent an hour in a wide-ranging discussion of issues affecting dance artists and audiences as well as exploring how she is helping to honor and preserve the work of generations of Black choreographers--from Donald McKayle to David Roussève--through her No Boundaries project.
Links: Gesel Mason Performance Projects and Mason/Rhynes Productions
Gesel Mason is Co-founder and Artistic Director for Mason/Rhynes Productions and Gesel Mason Performance Projects. Ms. Mason has performed with Ririe-Woodbury Dance Company, toured Germany with the Repertory Dance Theatre of Utah, and was a member of Liz Lerman Dance Exchange from 1996-2000, where she continues to perform as a guest artist. Ms. Mason’s solo project, NO BOUNDARIES: Dancing the Visions of Contemporary Black Choreographers, includes the work of Donald McKayle, Bebe Miller, David Rousséve, Reggie Wilson, Andrea Woods, and Jawole Willa Jo Zollar. The project received a National Dance Project Tour Only Grant for 2008/09 season and two Metro DC Dance Awards in 2007 for Outstanding Individual Performance and Outstanding Overall Production – Small Venue. She has also worked with Alison Chase, Sardono Kusumo, Jacek Luminski, Victoria Marks, Susan Marshall, Peter Pucci, Doug Varone, and Ralph Lemon in the final installment of his Geography Trilogy: “Come home Charley Patton”.
As an educator she has taught all ages and abilities and has been invited as artist in residence at schools and universities across the country including Texas Women’s University, University of Utah, Columbia College, University of Maryland, University of Maryland at Baltimore County, and Virginia Commonwealth University. Ms. Mason received a Maryland State Arts Council Award in 2001, 2004 and 2005, an Arts Council of Montgomery County Artist Fellowship in 1999 and 2005, was selected Emerging Choreographer by the Bates Dance Festival in 2000, and received 2007 Millennium Stage Local Dance Commissioning Project from the John F. Kennedy Center for the Performing Arts. Dallas Black Dance Theater, Eisenhower Dance Ensemble and Sandra Organ Dance Company have commissioned Ms. Mason’s award winning choreography, among others, and her work has been presented at Joyce SoHo, the Fort Wayne Performing Arts Center, Diverse Works in Houston, 651 Arts in Brooklyn, Walker Arts Center in Minneapolis, Clarice Smith Center for the Performing Arts in College Park, MD, as part of the International Contemporary Dance Conference and Performance Festival in Bytom, Poland, DanceAfrica, and the International Association of Blacks in Dance. For more information visit gmasonprojects.com.
Links: Gesel Mason Performance Projects and Mason/Rhynes Productions
Gesel Mason is Co-founder and Artistic Director for Mason/Rhynes Productions and Gesel Mason Performance Projects. Ms. Mason has performed with Ririe-Woodbury Dance Company, toured Germany with the Repertory Dance Theatre of Utah, and was a member of Liz Lerman Dance Exchange from 1996-2000, where she continues to perform as a guest artist. Ms. Mason’s solo project, NO BOUNDARIES: Dancing the Visions of Contemporary Black Choreographers, includes the work of Donald McKayle, Bebe Miller, David Rousséve, Reggie Wilson, Andrea Woods, and Jawole Willa Jo Zollar. The project received a National Dance Project Tour Only Grant for 2008/09 season and two Metro DC Dance Awards in 2007 for Outstanding Individual Performance and Outstanding Overall Production – Small Venue. She has also worked with Alison Chase, Sardono Kusumo, Jacek Luminski, Victoria Marks, Susan Marshall, Peter Pucci, Doug Varone, and Ralph Lemon in the final installment of his Geography Trilogy: “Come home Charley Patton”.
As an educator she has taught all ages and abilities and has been invited as artist in residence at schools and universities across the country including Texas Women’s University, University of Utah, Columbia College, University of Maryland, University of Maryland at Baltimore County, and Virginia Commonwealth University. Ms. Mason received a Maryland State Arts Council Award in 2001, 2004 and 2005, an Arts Council of Montgomery County Artist Fellowship in 1999 and 2005, was selected Emerging Choreographer by the Bates Dance Festival in 2000, and received 2007 Millennium Stage Local Dance Commissioning Project from the John F. Kennedy Center for the Performing Arts. Dallas Black Dance Theater, Eisenhower Dance Ensemble and Sandra Organ Dance Company have commissioned Ms. Mason’s award winning choreography, among others, and her work has been presented at Joyce SoHo, the Fort Wayne Performing Arts Center, Diverse Works in Houston, 651 Arts in Brooklyn, Walker Arts Center in Minneapolis, Clarice Smith Center for the Performing Arts in College Park, MD, as part of the International Contemporary Dance Conference and Performance Festival in Bytom, Poland, DanceAfrica, and the International Association of Blacks in Dance. For more information visit gmasonprojects.com.
Tuesday, November 4, 2008
Monday, November 3, 2008
David Leach installation set for BAC
The Baryshnikov Arts Center (BAC) announces a special studio showing with photographer and artist David Leach on Friday, November 7 (7pm-9pm):
Proximity & Distance, a work conceived and created by David Leach, originated in a series of photographs exploring the opposing impulses of closeness and solitude in human relationships. Now, during his two-week residency at BAC, Leach has been collaborating with choreographer Stefanie Nelson, composer Celso Cano, and film artist Joan Stein Schimke. Together, they have further developed this examination of intimacy into a performance installation with intertwining elements of photography, film, dance, and music.
The music and dance components will be performed periodically throughout the evening, between 7pm and 9pm.
RSVP to info@bacnyc.org or calling 646-731-3206. View the electronic flyer.
Baryshnikov Arts Center
450 West 37th Street, Suite 501, between 9th and 10th Avenues
Manhattan
Proximity & Distance, a work conceived and created by David Leach, originated in a series of photographs exploring the opposing impulses of closeness and solitude in human relationships. Now, during his two-week residency at BAC, Leach has been collaborating with choreographer Stefanie Nelson, composer Celso Cano, and film artist Joan Stein Schimke. Together, they have further developed this examination of intimacy into a performance installation with intertwining elements of photography, film, dance, and music.
The music and dance components will be performed periodically throughout the evening, between 7pm and 9pm.
RSVP to info@bacnyc.org or calling 646-731-3206. View the electronic flyer.
Baryshnikov Arts Center
450 West 37th Street, Suite 501, between 9th and 10th Avenues
Manhattan
Love & Art: Isadora Duncan
This past Saturday and Sunday, Lori Belilove--famed lineage-bearer and interpreter of Isadora Duncan dance--led her Isadora Duncan Dance Company in a 90-minute concert featuring a live performance by pianist Anastasiya Popova at Judson Memorial Church. With its landmark architectural details--especially the angelic Augustus Saint-Gaudens baptistery frieze--and its history of radical dance innovation, the church provided an exquisite and oddly-appropriate setting for Duncan's pioneering, proto-modern movement.
Given everything we have seen and learned from the revolutionary Judson generation and their successors, it might be hard to think of Duncan's emotionally- and politically-passionate dances as innovative. However, in her day, Duncan's poetic channeling of nature--delicate ripples and sensuous flow, fiery crackling and powerful soaring--introduced a liberation of the female dancing body, a refreshing response to classical music, and a new approach to the presentation of dance on the stage. She also broke barriers to the expression of progressive themes concerning the rights of the masses.
Given advances in technique and contemporary experimentation, Duncan dance, seen today, might not be to every taste. However, Belilove and her dancers--including the Beliloveables children's corps--perform it with rigor, liveliness and keen attention to graceful line. It is music, classical visual art and nature brought to life through an idealism that lives on in the discipline of this committed troupe.
If you missed the Judson presentations, you'll have numerous opportunities to experience Duncan technique--through ongoing classes and workshops for children, teens and adults, a winter intensive in January, and a special evening featuring Belilove and Sabrina Jones, author of Isadora Duncan: A Graphic Biography, on January 3 at the Brooklyn Museum.
For details, visit the Isadora Duncan Dance Foundation site.
Given everything we have seen and learned from the revolutionary Judson generation and their successors, it might be hard to think of Duncan's emotionally- and politically-passionate dances as innovative. However, in her day, Duncan's poetic channeling of nature--delicate ripples and sensuous flow, fiery crackling and powerful soaring--introduced a liberation of the female dancing body, a refreshing response to classical music, and a new approach to the presentation of dance on the stage. She also broke barriers to the expression of progressive themes concerning the rights of the masses.
Given advances in technique and contemporary experimentation, Duncan dance, seen today, might not be to every taste. However, Belilove and her dancers--including the Beliloveables children's corps--perform it with rigor, liveliness and keen attention to graceful line. It is music, classical visual art and nature brought to life through an idealism that lives on in the discipline of this committed troupe.
If you missed the Judson presentations, you'll have numerous opportunities to experience Duncan technique--through ongoing classes and workshops for children, teens and adults, a winter intensive in January, and a special evening featuring Belilove and Sabrina Jones, author of Isadora Duncan: A Graphic Biography, on January 3 at the Brooklyn Museum.
For details, visit the Isadora Duncan Dance Foundation site.
Israeli choreographer Yasmeen Godder
Close Encounters Series: Yasmeen Godder
by Deborah Friedes, Dance in Israel, November 3, 2008
by Deborah Friedes, Dance in Israel, November 3, 2008
Sunday, November 2, 2008
Subscribe to:
Posts (Atom)
Popular Posts
-
Alastair Macaulay is a bored man. The New York Times chief dance critic, an import from London, has been holding down a position of outs...
-
On my way home from last night's SummerStage performance in Central Park, I looked up to the stars and thought, "You guys up there...
-
Performer Ziiomi Law (photo: Cathey Ann Lynette Woodard Law) Ziiomi, a Black nonbinary femme, is laughing & smiling while giving a pro... -
Dear friends, Welcome to Artists Reach Out: reflections in a time of isolation . I dreamed this series of interviews out of grief for m...
-
Dear friends, Welcome to Artists Reach Out: reflections in a time of isolation . I dreamed this series of interviews out of grief for my w... -
Dear friends, Welcome to Artists Reach Out: reflections in a time of isolation . I dreamed this series of interviews out of grief for m... -
Dear friends, Welcome to Artists Reach Out: reflections in a time of isolation . I dreamed this series of interviews out of grief for m... -
Dear friends, Welcome to Artists Reach Out: reflections in a time of isolation . I dreamed this series of interviews out of grief for my w...
-
Dear friends, Welcome to Artists Reach Out: reflections in a time of isolation . I dreamed this series of interviews out of grief for...
-
Dear friends, Welcome to Artists Reach Out: reflections in a time of isolation . I dreamed this series of interviews out of grief for m...
