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Showing posts with label National Endowment for the Arts. Show all posts
Showing posts with label National Endowment for the Arts. Show all posts

Tuesday, February 28, 2017

ART MATTERS NOW




ART MATTERS NOW

Since word first leaked that Donald J. Trump wants to gut the National Endowments of the Arts and the Humanities, along with the Corporation for Public Broadcasting, many commentators have focused on the economic impact of the arts on communities, cities and the nation as a whole. Statistics argue for the arts as a contributor to American prosperity. The arts give far more than what they take in government support. The arts, we repeatedly hear, drive economic development and employment on the local level and represent this nation before the world as one dedicated to innovation and excellence.

As a writer, and one devoted to the arts, I’m grateful for any persuasive advocacy. However, with so much energy invested in painting the arts’ material benefits--linking their worth to monetary usefulness and relative low maintenance--we tend to ignore the full extent of good that the arts provide any society. These benefits happen to be desperately needed right now as we face the ascendancy of Trump and his nationalist, white supremacist regime.

The Arts as Story

The arts seek ways--ever new and as ancient as humanity itself--to articulate and preserve the story of individual lives as well as diverse communities, cultures and nations. They remind us where we’ve come from, who we are, what we most value, what we have built, to what stars we aspire. For each of us and for all of us, they give abundant sustenance for the Hero’s Journey.

The Arts as Guide

The arts inform how we choose to live our lives, how we relate to our inner selves as well as to the world around us, how we engage with hard problems and join our many individual talents to solve them. They show us where we slipped up in the past so that we need not repeat these errors or, if we do, we can recognize them as such and choose differently next time. They stimulate our intuition and creative potential. They give us ideals to reach for, consolation when we fall short and energy to try again and again and again.

The Arts as Healer

The arts have consistently demonstrated outstanding power to heal--in body, mind, heart and soul--those who study and work through them as well as those who witness and receive them. In a nation with historic unhealed trauma, unacknowledged anger and deep, deep layers of denial, the arts offer ways to surface and express pain, to empathize and align others who suffer, to gather what each and all of us will need to cleanse our wounds and grow strong in the broken places.

The Arts as Change

The arts have the ability, if willed and well utilized, to speak truth to power. They are rousing instigators that can help us question and dismantle rather than accept injustice. Through their example, we see our situation more clearly as they capture reality in mirrors that may be playful and surprising, personally life-changing and revolutionary on a grander scale. They serve the creation of the world we desire.

The Arts as Joy

The arts bring joy by radically dispersing the hateful lies and shame thrown upon individuals and whole communities of people. They awaken a healthy sense of roots, of awe, of agency and the capacity for freedom and pleasure. They restore us to our true selves.

Of course, all of these sacred roles speak to the reason the arts have long been undervalued, even held suspect, in a society caught up in mass commercialism, escapism, fear of the Other and conservative fear of creativity itself. A minority of the US electorate has now empowered an insecure, vindictive man threatened and enraged not only by a free, newly revitalized press but by artists who dare criticize his policies and refuse to normalize his election and its aftermath.

There has never been a more crucial time for our people to affirm and activate the arts--and support artists engaged with the ancient and evergreen roles of Storyteller, Guide, Healer and Agent of Change and Joy. There’s more at stake than jobs and the tourist dollar. There’s a nation’s soul to be rescued.


(photo: D. Feller)














Eva Yaa Asantewaa
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Saturday, June 18, 2011

NEA "frivolous" says Sarah Palin

Ms. Palin is certainly the gift that keeps on giving. (Oh, thank you so much, Sen. McCain. I certainly hope we can find a way to return the favor someday.)  Here's a gem from a few months ago, but just tweeted...

Sarah Palin trashes National Endowment for the Arts
by Christopher Knight, Culture Monster, Los Angeles Times, March 16, 2011

Thursday, April 14, 2011

Wednesday, March 30, 2011

The future of NEA dance funding

Douglas Sonntag, Director of Dance and Performing Arts Division Team Leader at the National Endowment for the Arts, will speak on the future of dance funding from the NEA.

April 19, 7pm

Barnard College
(Diana Events Oval--lower level of The Diana Center)
3009 Broadway (on 117th Street, west side of Broadway), Manhattan
(map/directions)

Admission free, open to the public. Reservations are not required.

Discussion moderated by Paul Scolieri, Assistant Professor of Dance at Barnard College

For further information, email Mary Cochran or call 212-854-9769.

Sunday, February 6, 2011

Student designer wins Limón competition

Sheryl Liu (scenic design, UC Irvine) has been selected to create the new sets and costumes for the Limón Dance Company’s upcoming revival of Limón’s 1956 masterwork The Emperor Jones, scheduled to premiere April 29 in Culiacan, Mexico, birthplace of Limón, followed by a tour of Mexico and presentation during the Company’s June 7-12 New York season at the John Jay Theater.
The Competition was sponsored by the Limón Dance Company and the National Endowment for the Arts as part of American Masterpieces for the purpose of bringing a fresh point of view to this acknowledged dance classic, on the occasion of its first restaging by the Company in 25 years. An invitation was extended to a select group of visual arts institutions in Mexico, Canada, and across the US , who invited a small group of their most talented students to apply. The Company received applications from young designers around the country, including Tennessee, California, New York, Pennsylvania and Massachusetts, and 10 finalists were chosen.

Sheryl Liu was selected by the panel of judges that consisted of Carla Maxwell, Artistic Director of the Limón Dance Company; Roxane D’Orleans Juste, Company Associate Artistic Director; lighting designer Carol Mullins, and Clay Taliaferro, who learned the work directly from José Limón, danced the leading role, and will reconstruct and direct the revival.

SHERYL LIU is a third year scenic design student at UCIrvine. Her assisting credits include working in Alexander Dodge’s studio during the summer of 2009 on projects at the Old Globe, the Lansburgh, and the Roundabout Theater Company. Last summer she assisted Christopher Acebo at the Oregon Shakespeare Festival. Her designs for Salome and La bohème have been selected to be part of EMERGE: 2011 at the Prague Quadrennial, the world’s top international stage design exhibition. Design credits at UCIrvine include The Wild Party, The Laramie Project, Little Women, Cyrano de Bergerac, Into the Woods, and The Crucible.
THE EMPEROR JONES
Premiered July 12, 1956 at the Empire State Festival, Ellenville, New York
Choreography: José Limón
Commissioned Score: Heitor Villa-Lobos
Reconstructed and Directed by Clay Taliaferro
In the classic Eugene O’Neill play, Jones, a fugitive from a chain gang, sets himself up as emperor of an island domain. He becomes a tyrant, and his mistreatment of his subjects causes them to rebel, hunt him down, and bring him to an ignominious end. The dance makes no attempt to adhere to the play’s sequence, but rather seeks to give it another dimension. The various episodes which concern Jones’ encounter with visions and hallucinations encompassing his own personal, and later, his racial memories, are juxtaposed within the necessarily brief duration of a dance.
For further information on the Limón Dance Company and its upcoming programs, click here.

Monday, January 31, 2011

Rocco Landesman is too much

Landesman Comments on Theater
by Robin Pogrebin, The New York Times, January 28, 2011

Too much theater?
by Erik Piepenburg, The New York Times, January 31, 2011

Wednesday, December 15, 2010

Wojnarowicz: the more things change...




Artist David Wojnarowicz discusses right-wing backlash against the NEA and arts funding (circa 1990).

Sunday, September 19, 2010

Arts: New Deal and Now Deal

The Philoctetes Center for The Multidisciplinary Study of Imagination (New York Psychoanalytic Institute) will host a free roundtable:

From the WPA to the NEA: Arts Funding Then and Now 

Saturday, September 25, 2pm
The WPA, one of the central programs of Roosevelt's New Deal, was pivotal in providing a template for government subsidy of arts projects, producing one of the great periods of creative expression in the history of American society. Playwrights like Arthur Miller and Elmer Rice flourished under the WPA’s Federal Theater Project, directed by Hallie Flanagan. Federally funded projects sowed the seeds for America's ascendency as the center of modern art, particularly with the emergence of abstract expressionism in the late ‘40s and ‘50s. The WPA and the New Deal fostered a renaissance that affected the very fabric of American society, instilling a confidence that helped lead the country back to prosperity. This panel will look at how and why the WPA stimulated creative growth during a crucial period in American history, and examine the ways in which government subsidy of the arts can foster a sense of social identity. 
Morris Dickstein is the author of Dancing in the Dark: A Cultural History of the Great Depression, winner of the 2010 Ambassador Book Award in American Studies. He is Distinguished Professor of English and Theatre at CUNY Graduate Center and the author of Gates of Eden and Leopards in the Temple, among other works. 
Rocco Landesman is the tenth chairman of the National Endowment for the Arts (NEA). Prior to joining the NEA, he was a Broadway theater producer. After receiving a doctorate in Dramatic Literature at the Yale School of Drama, he served there for four years as an assistant professor. He ran a private investment fund until his appointment in 1987 as president of Jujamcyn, a company that owns and operates five Broadway theaters. Landesman has produced several Tony award-winning Broadway hits, most notably Big River, Angels in America, and The Producers. He has been active on numerous boards, including the Municipal Arts Society, the Times Square Alliance, The Actor's Fund, and the Educational Foundation of America. Landesman has spoken at forums and written numerous articles on the debate surrounding arts policy. 
Susan Quinn is the author of A Mind of Her Own: The Life of Karen Horney; Marie Curie: A Life; Human Trials: Scientists, Investors and Patients in the Quest for a Cure; and Furious Improvisation: How the WPA and a Cast of Thousands Made High Art Out of Desperate Times. Quinn received the Globe Winship award for A Mind of Her Own, and was awarded a Guggenheim Fellowship and Rockefeller residency to work on her biography of Marie Curie, which was a finalist for the Los Angeles Times Book Prize, shortlisted for the Fawcett Book Prize in England, and won the Grand prix des Lectrices d'Elle in France. Quinn has been a staff writer at Boston Magazine, where she won the Penney-Missouri Magazine Award for investigative journalism, and has contributed to The Atlantic and New York Times Magazine, among other publications. She is currently at work on a book about the friendship of Harry Hopkins and FDR. 
Leslie G. Schultz is the Executive Director of BRIC Arts | Media | Bklyn, a non-profit cultural institution dedicated to supporting the creative process and presenting innovative and accessible contemporary art, performing arts, and community media programming that reflects the diverse communities of Brooklyn. Under her leadership, BRIC has rebranded, restructured, expanded its programming, developed and implemented a new strategic plan for institutional growth, and secured public and private support for the creation of BRIC Arts | Media House, a multidisciplinary arts and media center designed by award-winning Leeser Architecture that will double the size of BRIC's current facilities. Prior to BRIC, Leslie was a partner at the law firm of Manatt Phelps & Phillips and its predecessor firm, focusing on capital projects for a range of non-profits and on non-profit governance and corporate affairs. 
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. 
Events at Philoctetes are free and open to the public. Seating is on a first come basis. 
The Philoctetes Center for the Multidisciplinary Study of the Imagination was established to promote an interdisciplinary approach to the understanding of creativity and the imaginative process. To achieve its mission, the Center organizes roundtable discussions and music, poetry and film series. All programs are free and open to the public. Visit www.philoctetes.org for more information.
247 East 82nd Street (between 2nd and 3rd Avenues), Manhattan
646-422-0544 or info@philoctetes.org 

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