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Showing posts with label arts funding. Show all posts
Showing posts with label arts funding. Show all posts

Thursday, October 21, 2021

Elizabeth Alexander on arts philanthropy and justice

 


Giving Done Right podcast explores social and racial justice in arts funding with Elizabeth Alexander, award-winning poet and president of The Andrew W. Mellon Foundation, and hosts Phil Buchanan and Grace Chiang Nicolette of Center for Effective Philanthropy.

Listen here.

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DISCLAIMER: In addition to my work on InfiniteBody, I serve, at Gibney, as Senior Director of Curation and Editorial Director. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

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Alice Sheppard wins Neilsen prize, plans fund for disabled artists

 

Alice Sheppard (photo: Beverlie Lord)

Congratulations to dance artist Alice Sheppard who has just won the Craig H. Neilsen Foundation's 2021 Neilsen Visionary Prize!

Sheppard will direct 100% of the prize money--$1 million--towards support for other disabled artists. This fund will address disabled artists' need for equipment, access, care, travel and other resources related to training, development, and creation.

Sheppard, artistic director of world-renowned Kinetic Light, expressed gratitude to the Neilson Foundation: "Through this honor, they emphasize the fact that disability is not a deficit; it is a powerful creative and cultural force....I dedicate these funds to disabled artists. We do not move alone. We are interdependent, collective, and communal.”

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DISCLAIMER: In addition to my work on InfiniteBody, I serve, at Gibney, as Senior Director of Curation and Editorial Director. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

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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
InfiniteBody


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Tuesday, November 29, 2016

Remembering the arts on Giving Tuesday


Photos ©2014-2015, Eva Yaa Asantewaa
Above: Dancing Through the Bronx,
a project of Dancing in the Streets, 2015
Below: Dance artist Nia Love working with students in
the New Directions Choreographic Lab of the
Ailey/Fordham BFA program, 2014


Hey, I know I don't have to tell you it's Giving Tuesday. Your email inbox has got that covered.

We're all getting multiple requests from groups doing good and necessary work in the world. I won't pile on more here.

But, as you sort through these many appeals, I do urge you to consider directing at least some of your support towards the arts. We know we can anticipate further decline in arts funding in the U.S. and the inevitable targeting of artists who challenge complacency and speak truth to power. We need to nurture and back up artists on the front lines.

The arts can play a strong, visionary role in the struggle for equity, human rights, justice and care for our endangered environment. Please give to the arts with all of your own imagination and vision for our shared future.

Thank you!

Eva Yaa Asantewaa
InfiniteBody


Wednesday, October 21, 2015

Oh, Canada!


Eh, Canada! Your new Prime Minister is gorgeous, progressive and supports the arts, too?

Why Canada’s New Prime Minister Might Be Good for the Arts, Eh?
by Gabriella Santiago-Vancak, Hyperallergic, October 20, 2015

Wednesday, December 3, 2014

Cathy Edwards: new ED, New England Foundation for the Arts

Cathy Edwards
(Photo: Judy Sirota Rosenthal)
NEFA NAMES CATHY EDWARDS AS EXECUTIVE DIRECTOR

Lawrence J. Simpson, board chair of the New England Foundation for the Arts, announced that Cathy Edwards will join the organization as executive director, beginning late January, 2015.

Ms. Edwards comes to NEFA from the International Festival of Arts & Ideas in New Haven, CT, where she has served as director of programming since 2006. She has also served as the artistic director of the Time-Based Art Festival at PICA in Portland, OR. Previously, she was artistic director of Dance Theater Workshop in New York City, and co-director of Movement Research in New York City. 

“We are excited to have Cathy bring her thinking, energy and experience to NEFA,” said NEFA board chair Larry Simpson. “She brings deep knowledge about the field and the challenges and opportunities ahead for NEFA, and has a history with the organization via her service as a program advisor and panelist. I want to thank the entire search committee, chaired by board vice chair Andrew Cornell and including interim co-executive directors Laura Paul and Jane Preston, for their service during this time.”

Edwards has served on numerous grant-giving and funding panels in addition to NEFA’s, including the National Endowment for the Arts, the New York Foundation for the Arts, Connecticut Culture and Tourism, United States Artists, the Japan Foundation, the Mid-Atlantic Arts Foundation and Creative Capital.  She serves on the boards of the Association of Performing Arts Presenters and Movement Research, where she is currently board chair. She holds a BA in Humanities from Yale College.

"I have known NEFA for many years – as a grantee of both national and regional programs, a presenter in New England, and as a program advisor,” noted Edwards. “I will work passionately to advance NEFA’s mission with the dedicated and knowledgeable staff and board at NEFA.  The artistic core of today’s creative communities is increasingly fragile, and NEFA stands out by developing funding and advocacy platforms that provide artists with resources to create, and cultural organizations with resources to bring artistic experiences to the public.”

About NEFA

NEFA builds connections among artists, arts organizations, and funders, powering the arts to energize communities in New England, the nation, and the world. NEFA is a nonprofit that operates in partnership with the National Endowment for the Arts and the New England state arts agencies, with additional funding from foundations, corporations, individuals and other government agencies.

NEFA’s work is accomplished through grantmaking, services, and initiatives which strengthen and advance the national arts infrastructure. For more information, please visit www.nefa.org or call 617.951.0010.

Thursday, November 27, 2014

Petition in support of Dance/USA's Philadelphia branch

Dear William Penn Foundation Board of Directors,
We, the dance community of Philadelphia, write you in response to the sudden dissolution of Dance/UP resulting from the discontinuation of its William Penn Foundation funding. This vital service organization, thanks to seven years of your support, has become indispensably woven into the fabric of Philadelphia dance. In order to ensure the continuation of crucial programming developed by Dance/UP we are making a heartfelt request that the William Penn Foundation provide six months of transitional funding, making it possible to migrate Dance/UP’s programs to the stewardship of other organizations.  
Read more and sign the petition here.

Announcement of closing of Dance/USA's Philadelphia branch: Read here.

Wednesday, November 26, 2014

Dance/USA Philadelphia, losing major funder, will close

LOCAL PHILADELPHIA DANCE SERVICE ORGANIZATION TO CLOSE

Washington, DC – Dance/USA, the national service organization for professional dance, has reached the difficult but unavoidable decision to close Dance/USA Philadelphia (Dance/UP), the Philadelphia branch office of Dance/USA, due to the sudden loss in funding from the William Penn Foundation.


“This is heartbreaking news; we are saddened to lose our talented team in Philadelphia and we wish we could keep the branch office going. This decision is not a reflection on the quality of the work accomplished by Dance/UP. Dance/UP Director Lois Welk and her team are doing phenomenal work and were recognized by national funders for their projects and initiatives with the local community, including her theatre subsidy program, New Stages for Dance, that was replicated in Chicago and San Francisco; the exciting Dance in Public Places program that created space for dance in unique public venues; and her portable dance floor rental program that addressed an immediate need in the dance community. We have worked hard to diversify the revenue of Dance/UP. Regrettably no one funder could replace the operating support from the William Penn Foundation.” Amy Fitterer, Dance/USA Executive Director.


Dance/UP serves an estimated 2,000 individual professionals including choreographers, educators, artistic directors, managers, designers, writers, and curators and is an integral part of the vibrant Philadelphia dance community. Dance/UP provides a range of services for the Philadelphia dance community, including hosting oneon-one consultations with Director Lois Welk; helping to underwrite 97 home seasons by local dance companies through the New Stages for Dance initiative; showcasing 37 dance groups in the Dance in Public Places program, which was experienced by 8,000 people; producing the Philadelphia Dance Showcase, and partnering with the Greater Philadelphia Cultural Alliance on the Phillyfunguide, which helps maintain a public-access calendar of dance events in Philadelphia. Page Two Dance/USA hopes to find ways to preserve services currently provided by Dance/UP, including working with local  community organizations to adopt selected programs. It is Dance/USA’s goal to execute this difficult transition as professionally and elegantly as possible, treating staff and stakeholders with respect and leaving as much value behind in the community as possible.


About Dance/UP

Following the recommendation from the Philadelphia dance community to establish a local dance service organization and a report published by The Pew Charitable Trusts and the William Penn Foundation on the Philadelphia dance community’s infrastructure needs, Dance/UP was launched in 2007 with start-up funding from the William Penn Foundation. From the beginning, Dance/UP was supported by the local community, managed by local artists, and provided services to local dancemakers. Dance/UP’s mission is to advocate for dance as an art form and vital component of our culture, to increase the capabilities of dance artists and organizations, and to enhance the public’s awareness and support for dance. For more information, visit www.danceusaphiladelphia.org.


About Dance/USA

We believe that dance is essential to a healthy society, demonstrating the infinite possibilities for human expression and potential, and facilitating communication within and across cultures. Dance/USA is the national service organization for the professional dance field. Established in 1982, Dance/USA
serves a diverse national membership of dance groups working in the genres of aerial, ballet, contemporary, culturally-specific, hip-hop, ice, international, jazz, liturgical, single-choreographer, and tap, dance presenters, dance service organizations, dance agents, dance educators, independent dancers, freelance choreographers, students of arts administration and/or dance and business in service to dance, and individuals related to the field.


Learn more about Dance/USA by visiting our website, www.danceusa.org.

Tuesday, May 20, 2014

Kate Peila: In "lessons learned" post, Harwell ignores DNA's efforts

Two respected leaders of New York's dance community differ in their accounts of the recent history of The Sun Building at 280 Broadway, the former home of Dance New Amsterdam (DNA), a dance education, development and presenting organization which went bankrupt and shut down last year after a long struggle to renegotiate its lease and pursue a new business plan.

[Read more here: Curtain Closes On Dance New Amsterdam: Beloved NYC Studio And Simonson Technique Hub Bankrupt, To Close Doors by Nadine DeNinno, International Business Times, August 29, 2013]

280 Broadway, located across Chambers Street from City Hall, was recently annexed by Gibney Dance Center, an organization that administers Gina Gibney's dance troupe and several rental studios developed at 890 Broadway, a Flatiron District building owned by ballet choreographer/director Eliot Feld. GDC has reconfigured the Lower Manhattan extension for a slate of dance classes and plans to create new spaces for performance at the site. In addition, the organization's well-regarded Community Action program for survivors of domestic violence will be relocated to 280.

On May 14, Lane Harwell, Executive Director of Dance/NYC, contributed a blog post to The Huffington Post about "lessons learned" in the effort to save 280 Broadway for New York's dance community. The essay, which makes no mention of DNA's accomplishments or struggles, begins,
There are lessons for the creative sector in the story of 280 Broadway, whose new tenant, Gibney Dance, opens its doors to the community to shape the future. In a real estate climate where too many are losing space and reporting escalating costs -- real threats to creative life -- some, like Gibney Dance, are making solutions.
[Read more here: Making Space Solutions for Making Arts and Culture]

Catherine A. Peila, who served as Executive and Artistic Director of DNA from 2007 to 2014, asserts that that organization's "30 years of community building has been disappeared." In her initial response, posted yesterday on Facebook and forwarded to this writer among others, Peila wrote,
Having received phone calls from the cultural community regarding Lane’s blog “Making Space Solutions for Making Arts and Culture,” I must respond. It is imperative that a deeper investigation regarding the 280 Broadway transition from DNA to Gibney Dance be initiated before any attempt of a qualified statement regarding “lessons learned” be made. As the executive and artistic director of DNA, 2007-2013, Lane’s post is devoid of information that sets the stage for the DNA to Gibney transition. DNA’s original renovations, partnership negotiations, efficiency practices and financial modeling, legal battles, bankruptcy filing and its unnecessary dissolution enabled Gibney Dance to “reengage” the 280 Broadway dance space.

DNA successfully saved a space in NYC for dance, which represented nine years of unflagging work by its staff and board, thousands of artists, pro-bono lawyers and financial analysts, foundations and individual donors, elected officials, city cultural representatives, and Fram Realty. Gibney’s team received all the benefits without the burden of DNA's renovation debt, which proved to be its ultimate unraveling. Lane omits vital information that shows the cultural, funding and government sectors colluded to transfer the assets of DNA's/Dance Space Center’s 30 years of community building and program development to what they considered to be a healthier business. 280 Broadway is reengaged. I recognize Gina Gibney's commitment, but it is important to publicly analyze 280 Broadway’s transition so a proper list of “lessons learned” will aid in strengthening the non-profit field and this city’s cultural policy.
Yesterday, I reached out to Lane Harwell for a response to Peila's concerns, and he agreed to forward a written reply by 10am this morning. I have not received his response in time to include it in this post. Business travel over the next few days will delay my ability to post a follow-up, but I still hope to receive and append anything that Harwell would like to share with the readers of InfiniteBody.

Your comments on this issue are also welcome.

Tuesday, April 15, 2014

CUNY initiative for choreographers will engage all five boroughs

City University of New York Announces Dance Initiative
by Roslyn Sulcas, The New York Times, April 15, 2014

Eligibility: New York City resident choreographers

residency between June 1 and December 31, 2014

DEADLINE: APPLICATIONS MUST BE SUBMITTED 
BY 11:59PM ON APRIL 30, 2014

Visit cuny.edu/danceinitiative for complete information.

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