Arts Wire CURRENT is a project of the New York Foundation for the Arts (NYFA) -- http://www.nyfa.org

Arts Wire CURRENT features news updates on social, economic, philosophical, and political issues affecting the arts and culture. Your contributions are invited.
Contact Judy Malloy, editor.

To encourage the exchange of arts information and perspectives, Arts Wire CURRENT contents are not copyrighted unless specifically stated. We ask that you cite Arts Wire CURRENT as well as Arts Wire's url (http://www.artswire.org) when reprinting material. In addition, Arts Wire is very interested in documenting the use of material from Arts Wire CURRENT in other newsletters, publications and on online networks. Please send a copy to: Judy Malloy.

• Court Lifts Injunction on Alice Randall's THE WIND DONE GONE; Houghton Mifflin Will Proceed with Publication

• Authors Publishing with iPublish Face Legal Risks and Loss of Literary Rights, Authors Guild Warns

• CLMP and SPD New Readers for New Writers to Offer Subsidized distribution contracts for Literary Magazines

• Advocacy
  

  Jeffords Move From Republican to Independent Will Put Democrat at the Helm of Senate Appropriations

• Conferences:
  FUTURE OF FAIR USE Seminar & Webcast -- College Park, MD
• Arts Events:
  BOOKEXPO AMERICA - Chicago, IL

• Funding/Opportunties for Organizations:
  Arts in Education Model Development and Dissemination Grant Program
• Opportunities for Artists:
  Dana Foundation to Support Innovative Programs to Foster Performing Arts Teaching in public schools
  Current Calls
• Job Opportunities:
  Career in the Arts Internships Offer Funding for Providing Internships to Individuals with Disabilities
  Current Jobs

• Arts Wire Web Reports:
  IMAP Launches Web Site to Archive Independent Media
  Open Home: Longwood Cyber Art Gallery

• Elsewhere on the Net:
  Protas v. Martha Graham Center

"I am delighted that the American people will now be able to read my book," said song-writer/screenwriter Alice Randall. "If you allow yourself to be guided by fear, you stop being a writer."

In lifting the preliminary injunction, Presiding Judge Stanley Francis Birch Jr., with Judges Harlington Wood Jr. and Stanley Marcus, issued a brief statement calling the injunction "an abuse of discretion in that it represents an unlawful prior restraint in violation of the First Amendment."

Told from the point of view of the daughter of the white master and a black woman on the plantation Tata, and reportedly featuring characters such as Mealy Mouth (Melanie) and a homosexual Ashley, The Wind Done Gone is a parody of Margaret Mitchell's GONE WITH THE WIND.

Although parody -- as long as it criticizes or in some other way transforms the prior work, and as long as its use of elements from the prior work is reasonably related to its critical purpose -- is protected by the First Amendment, publication of The Wind Done Gone was halted on April 20, when a federal judge in the Northern District Court in Atlanta granted Margaret Mitchell's estate a preliminary injunction banning The Wind Done Gone on the grounds that it was a sequel and thus a copyright infringement.

Parody (Greek paroida, "a song sung alongside another") is described by the ENCYCLOPEDIA BRITANNICA as "...in literature, a form of satirical criticism or comic mockery that imitates the style and manner of a particular writer or school of writers so as to emphasize the weakness of the writer or the overused conventions of the school...."

With (known) beginnings in ancient Greece, where the BATRACHOMYOMACHIA, (The Battle of the Frogs and Mice: "How threatening mice advanced with warlike grace,/And waged dire combats with the croaking race") used motifs, phrases, lines, and scenes from The ILIAD and the ODYSSEY, parodying Homer in the dactylic hexameter of the originals, parody -- as well as works of literature which build on predecessors -- is an enduring literary form. Contemporary examples include the photographs of Renee Cox in which she casts herself as a super hero, Venus, Jesus, or Mary; the collected songs of Austin Lounge Lizards; the collected songs of the Dead Milkmen; and Shelley Jackson's hyperfiction PATCHWORK GIRL. (which retells Mary Shelley's FRANKENSTEIN)

Margaret Mitchell took the name of her book, Gone with the Wind, from the third stanza of the poem "Non sum qualis eram bonae sub regno Cynarae" by nineteenth century poet Ernest Dowson: "I have forgot much, Cynara! gone with the wind....I have been faithful to thee, Cynara! in my fashion."

In The Wind Done Gone, Alice Randall's narrator is named Cynara.

Tara, the name of the plantation in Margaret Mitchell's Gone with the Wind -- is the ancient seat of the high kings of Ireland. ("No more to chiefs and ladies bright,/The harp of Tara swells; The chord alone, that/ breaks at night,/Its tale of ruin tells...." - Thomas Moore, 1779-1852, IRISH MELODIES)

Tata, the name of the plantation in African American Alice Randall's The Wind Done Gone, is the residence of a West African Chieftain; a word meaning "father" in the west African originated Gullah language; a third world headquartered Iron and Steel Company employing many women workers.

"The goal of parody is to comment critically and to expose and explode the flaws of the original," explains The Wind Done Gone publisher Houghton Mifflin. "The goal of a sequel, by contrast, is to continue a story, generally using the principal characters, style, tone, and themes of the original; a sequel might take a slightly different point of view, but it would not overturn or ridicule the basic assumptions of the original. Think of it as the difference between revolution and evolution."

"A political parody was my original pitch," THE FREEDOM FORUM quotes Alice Randall as saying. "If I had written a sequel to Gone With the Wind, no one in my family would have spoken to me."

But according to FORBES.COM, (BUSINESS WIRE report) Richard Kurnit of Frankfurt Garbus Kurnit Klein & Selz, P.C., lawyers for the Mitchell Trust, argued that "Under the guise of 'parody,' the defendant claims the right to publish a book based on the famous novel 'Gone With the Wind' using characters, scenes, plot elements and even the words of the original copyrighted work of fiction. If the injunction issued here does not stand, nearly any work derived from a famous original could be published without authorization, simply by claiming parody or social commentary."

Forbes.com reports that Kurnit pointed out that The Wind Done Gone uses 15 fictional characters from Gone With the Wind, copying their physical attributes, mannerisms, distinct features and complex inter-relationships. It also copies detailed descriptions of the book's fictional settings; lifts direct quotes, including its first and last lines; and repeatedly abridges several pages of the original's text to retell the same scenes in single paragraphs.

According THE NEW YORK TIMES, the Mitchell Trusts will ask the full court to overturn the ruling and, if necessary, might even take the case to the Supreme Court.

However in 1994 the Supreme Court recognized that parody requires some borrowing from the original when it overturned a lower court ruling (CAMPBELL V. ACUFF-ROSE MUSIC) that found plagiarism in 2 Live Crew's parody of Roy Orbison's song "Oh, Pretty Woman". ("Bald headed woman, you got a teeny weeny afro Bald headed woman, you know your hair could look nice, Bald headed woman, first you got to roll it with rice...")

"I wrote this book so all of America would have a deep-healing belly laugh," said Alice Randall.

The Mitchell Trust's attempt to stop publication of The Wind Done Gone resulted in widespread support from the literary community.

"Never in my 30 years of book publishing have I seen such an outpouring of support for a book; it's clear that many writers and others concerned with our country's free exchange of ideas understood, as did this Court, the urgent issues raised by this case," said Wendy Strothman, Executive Vice President, Trade and Reference Division, Houghton Mifflin Company. "Toni Morrison and Harper Lee, Microsoft Corporation, The New York Times Company and Dow Jones, PEN/American Center and The National Coalition Against Censorship, are among those who supported our position."

In a letter of support, a group of 30 writers, scholars, musicians and filmmakers -- including Ben H. Bagdikian, (THE MEDIA MONOPOLY) John Berendt, (MIDNIGHT IN THE GARDEN OF GOOD AND EVIL) Catherine Clinton, (TARA REVISITED: WOMEN, WAR AND THE PLANTATION LEGEND) Adam Hochschild, (KING LEOPOLD'S GHOST) Reginald Hudlin, (THE GREAT WHITE HYPE) Myra McLarey, (WATER FROM THE WELL) Larry McMurtry, (LONESOME DOVE) and Lucius T. Outlaw, Jr. (ON RACE AND PHILOSOPHY) -- wrote:

"The discussion of the painful legacy of slavery is ongoing among American citizens across the nation. Because of the extraordinary popularity of GONE WITH THE WIND and its unique mythic status, Mitchell's novel has become a prime source of knowledge about plantation life for much of mainstream America. Now is the time for the American public to hear another perspective on this legend."

Under the copyright term in effect when Mitchell wrote Gone With the Wind, the book should have become public domain in 1993. Before the Sonny Bono Act, works created by individuals enjoyed protection for the life of their creators plus an additional 50 years. (Works created by so-called "corporate authors," such as Disney, received protection for 75 years from the date of their creation.) However, in October, 1998, Congress passed the SONY BONO COPYRIGHT TERM EXTENSION ACT, which extends the term of US copyright for 20 more years.

The Berkman Center for Internet & Society at Harvard Law School, which is challenging the extension in ELDRED V. RENO, explains that "The Sonny Bono Act adds 20 years to both terms of protection, giving individual authors protection for life plus 70 years and corporate authors protection for 95 years. Thus, a symphony created by a 5 year-old modern Mozart who lives to be 85 will not be available in the public domain for the first 150 years of its existence."

In a New York Times Op-ed, Lawrence Lessig professor of law at Stanford and author of the forthcoming THE FUTURE OF IDEAS argues that copyright law should follow the framer's design. "When the Constitution says 'limited times,' it means limited. The limited copyright for "Gone with the Wind" expired in 1992," he emphasizes.

"...the case of 'The Wind Done Gone' shows precisely why our framers got the balance right," Lessig states. "'Gone With the Wind' is an important part of our cultural heritage; its characters, quotations from its text and its picture of the old South are familiar to almost everyone. At some point, every story - and certainly one like this - should be free for others to use and criticize."

Sources/resources:

SUNTRUST BANK, as Trustee of the Stephens Mitchell trusts f.b.o. Eugene Muse Mitchell and Joseph Reynolds Mitchell, Plaintiff-Appellee, versus HOUGHTON MIFFLIN COMPANY, Defendant-Appellant. Appeal from the United States District Court for the Northern District of Georgia -- http://eon.law.harvard.edu/openlaw/eldredvreno/wind_done_gone.html
A detailed opinion is expected to be issued at a later date.

Houghton Mifflin's THE WIND DONE GONE WEBSITE -- http://www.thewinddonegone.com/
The site contains Court documents, letters of support, and detailed information about The Wind Done Gone.

ENCYCLOPEDIA BRITANNICA ONLINE -- http://www.eb.com/

A translation of the BATRACHOMYOMACHIA (with notes and commentary by Catherine Kusske) is available at http://www.geocities.com/Athens/Olympus/3002/frogs.html

"Giuliani Calls Renee Cox Photo "Disgusting","Anti-Catholic"; Announces Plans for a NYC "Decency" Commission"
Arts Wire CURRENT -- http://www.artswire.org/current/2001/cur022001.html
February 20, 2001

AUSTIN LOUNGE LIZARDS -- http://www.austinlizards.com

DEAD MILKMAN -- http://www.deadmilkmen.com/

Shelley Jackson
PATCHWORK GIRL -- http://www.eastgate.com/catalog/PatchworkGirl.html

"Judge hears arguments in Gone With the Wind parody case"
THE FREEDOM FORUM -- http://www.freedomforum.org/templates/document.asp?documentID=13726
April 19, 2001

"Counsel for Heirs of Margaret Mitchell, Frankfurt Garbus Kurnit Klein & Selz, P.C.: Unauthorized Sequel to "Gone With the Wind" Represents Piracy"
FORBES.COM (BUSINESS WIRE) -- http://forbes.com
May 25, 2001

David D. Kirkpatrick
"'Wind' Book Wins Ruling in U.S. Court"
THE NEW YORK TIMES -- http://www.nytimes.com/2001/05/26/business/26BOOK.html
May 26, 2001

Benedict O'Mahoney
THE COPYRIGHT WEBSITE -- http://www.benedict.com
Information about CAMPBELL V. ACUFF-ROSE MUSIC including the lyrics of both Ray Orbison's "Oh, Pretty Woman" and 2 Live Crew's version is available at http://www.benedict.com/audio/crew/crew.htm#7
The ruling in this case did not address the extent of borrowing allowed nor did it rule on cases where an author who profited from a work which borrows heavily from a less known underground work, might claim that his or her work was a parody.

UNITED STATES COPYRIGHT OFFICE -- http://www.loc.gov/copyright/

Berkman Center for Internet & Society at Harvard Law School
OPENLAW ELDRED V RENO WEB SITE -- http://eon.law.harvard.edu/openlaw/eldredvreno

Lawrence Lessig
"Let the Stories Go"
THE NEW YORK TIMES -- http://www.nytimes.com
April 30, 2001

Alice Randall's songs include "XXX's and OOO's: An American Girl" (Matraca Berg/Alice Randall) and "I'll Cry for Yours, Will You Cry for Mine?" which gives tribute to both the slave dead and the Confederate dead. As a screenwriter, she has worked on adaptations of THEIR EYES WERE WATCHING GOD, PARTING THE WATERS, and BRER RABBIT. She graduated from Harvard University in 1981 with an honors degree in English and American literature. This is her first novel.

According to the Authors Guild, among other things, Time Warner claims the exclusive rights to any means of delivering digital content, regardless of whether those means have yet been invented; royalties are low; no advance is paid for the e-book; the print book advance is locked in at $5,000, and Time Warner controls the author's next work.

The contract, to which authors agree merely by submitting their work to iPublish, also gives Time Warner the right to settle claims against the work without the author's approval and to charge the author for the settlement amount and Time Warner's legal fees. There is no provision for insuring the author against such claims, as is generally included in traditional publishing con tracts.

"The seductive appeal of e-book publication should not blind authors to the risk involved in the iPublish contract," said Guild president Letty Cottin Pogrebin. "No professional writer or responsible agent would accept terms that call for the author's virtual surrender of basic literary rights yet with its pitiful advances and Draconian option clause, this contract does just that. The Authors Guild deplores Time Warner's exploitive approach. We strongly advise authors who are interested in digital publication to hold out for a publishing partner who respects their work and a publishing agreement that reflects fundamental standards of fair industry practice."

The Authors guild, a professional society of published authors, representing more than 8,000 writers, has been active in assuring electronic rights for its members.

In recent months, the Guild has submitted (with the Association of Authors' Representatives) an amicus brief arguing against Random House's claim that the traditional right to "print, publish and sell the Work in book form" (which appears in many book contracts still in force) includes the right to publish the Work in eBook form.

It has also (with the Association of American Publishers) written to Jeff Bezos, CEO of Amazon.com, asking that the online bookseller end its new marketing practice of making used copies of books as readily available to customers as new copies of the same books. Because under US copyright law, neither the author nor the publisher receives any revenue from used book sales, the Guild and Association of American Publishers believe that if Amazon continues the practice, it may seriously reduce the revenues of publishers and authors.

For complete information, visit THE AUTHORS GUILD WEB SITE at http://www.authorsguild.com IPUBLISH WEBSITE -- http://www.ipublish.com

CLMP and SPD have invited literary magazines nationwide to apply to New Readers for New Writers, a one-year pilot program which offers subsidized distribution contracts with the leading nonprofit wholesaler (SPD) and a concurrent series of marketing activities.

The program aims to make literary magazines more readily available to bookstores, libraries, and individual buyers and thus raise the profile for sources of new and challenging literature.

"Distribution is one of the most difficult challenges facing literary magazines today," observes Susan Kenny, CLMP's Literary Magazine Specialist. "In a marketplace dominated by mainstream publications and mainstream distributors interested only in giant circulation magazines, literary magazines simply get lost in the morass. New Readers for New Writers is a way to at least begin the process of addressing the problem of distribution and testing inventive ways of finding new audiences."

New Readers for New Writers' marketing activities will include THE LITERARY MAGAZINE KIOSK. an independent single-copy sales website linked directly to SPD's online fulfillment system. The kiosk will feature a home page and subsequent "catalogue" pages, which will include reduced-size facsimiles of magazine covers, descriptions of current issues and direct links to individual magazine websites. The home page will have search capabilities allowing users to browse by genre and subject. Single-copy purchases will be made with a simple "click" which will take the user to a special SPD magazine shopping cart area.

Participating magazines will be featured in a targeted national advertising campaign and a national direct mail campaign to encourage booksellers, librarians and consumers to order magazines through SPD. The program will also work to educate booksellers about the importance and value of carrying literary magazines.

At the 2001 BOOKEXPO AMERICA convention in Chicago, CLMP, a national service organization for independent publishers of fiction, poetry and prose, and SPD, a non-profit wholesaler of literary presses and magazines, will feature the magazines prominently in their booths and will host a panel discussion for booksellers on how to successfully carry literary magazines in their stores.

Applications for New Readers for New Writers were mailed to more than 800 magazines in early April, and program activities will officially begin in late June. The program is open to non-commercial literary magazines that are based in the United States, publish at least two issues per year, and are primarily literary in nature. (i.e., over half the content of each issue consists of poetry, fiction, drama, creative nonfiction, literary reviews and/or essays) SPD and CLMP are encouraging participation from the widest possible range of disciplines, genres, and aesthetics.

For more information, contact Susan Kenny, CLMP's Literary Magazine Specialist and the New Readers for New Writers director at tel 212-741-9110 or visit the COUNCIL OF LITERARY MAGAZINES AND PRESSES (CLMP) WEBSITE at http://www.clmp.org

WASHINGTON, DC -- Last week, saying that the Bush budget does not provide any new funding for education initiatives, Senator James Jeffords of Vermont left the Republican Party to become an Independent -- giving control of the Senate to the Democratic Party for the first time since 1994.

In a speech to supporters in Burlington, Vermont, Jeffords said that of the issues he took into account in his decision, "The largest for me is education. I come from the state of Justin Smith Morrill, a U.S. senator from Vermont who gave America its land grant college system. His Republican Party stood for opportunity for all, for opening the doors of public school education to every American child. Now, for some success seems to be measured by the number of students moved out of the public schools."

The move is likely to impact the Chairmanship of the Senate Interior Appropriations Subcommittee which oversees cultural funding -- with ranking Democrat Robert Byrd (WV) replacing Conrad Burns (R-MT) as Chair of the Subcommittee. Byrd, will also become Chair of the Appropriations Committee as a whole.

Reflecting a mood of increased bipartanship in the cultural funding process, Both Byrd and Burns have 100+ ratings on arts voting in recent years, according to American Arts Alliance (AAA) records.

The President has requested approximately level funding for the National Endowment for the Arts (NEA) and the National Endowment for the Humanities, (NEH) and the budget is tight. Nevertheless, in the House, arts supporters -- including Congresswoman Louise Slaughter, (D-NY) and Rep. Norman Dicks, (D-WA) -- have strongly expressed a need for increased cultural funding.

Because, the majority party sets the agenda, there exists a slim chance that the change in the Senate may increase the possibility of achieving more funding for the National cultural agencies.

Sources/resources:

CNN NEWS -- http://www.cnn.com

AMERICAN ARTS ALLIANCE (AAA) -- http://www.artswire.org/aaa

"President's Budget Blueprint Proposes Flat Funding for NEA"
'We're going to make every attempt to increase that' -- Congresswoman Louise Slaughter"
Arts Wire CURRENT -- http://www.artswire.org/current/2001/cur030601.html
March 6, 2001

"Bipartisan Spirit Prevails at House FY02 Cultural Funding Hearing; Arts Funding Still Spread Thin, NEA, NEH Chairmen Testify"
Arts Wire CURRENT -- http://www.artswire.org/current/2001/cur041701.html
April 17, 2001

FUTURE OF FAIR USE SEMINAR & WEBCAST

"Fair Use is integral to the academic enterprise. The World Wide Web has intensified the debate about the merits of the fair use doctrine, with some individuals calling for its abolishment and others for its expansion."

The FUTURE OF FAIR USE will provide a breadth of academic and legal expertise on the topic and will provide an in-depth discussion of the copyright legal framework and the role of Fair Use in a digitally-based society. Sponsored by The Center for Intellectual Property and Copyright at University of Maryland University College, the seminar will focus on recent legislative acts, such as the Digital Millennium Copyright Act and the Uniform Computers Information Transactions Act, as they affect the fair use doctrine and higher education. Each participant will receive a notebook with outlines of the law, recent case law, and legislative enactments as well as relevant position papers and journal articles on the topic.

Presenters and panelists include:

Kim Kelley, Associate Provost and Executive Director of the Center for Intellectual, Property, University of Maryland University College

Rodney J. Petersen, Director, Policy and Planning & Project NEThics, Office of Information Technology, University of Maryland, College Park

Allan Robert Adler, Vice President, Legal and Governmental Affairs, Association of American Publishers

Jon A. Baumgarten, Partner in the firm of Proskauer Rose LLP

Sayuri Rajapakse, Attorney- Advisor Office of Policy and International Affairs U. S. Copyright Office

and many others.

The seminar will conclude with a panel discussion on the merits of the fair use doctrine and its proper application in the digital environment. The 1.5 hour panel will be a free web cast.

June 1, 2001 is the early registration deadline.
For additional information or to register online, visit http://www.umuc.edu/distance/odell/cip/workshop_6-01/ Or call 301-985-6426 or 1-800-283-6832, extension 6426.

BOOKEXPO AMERICA

"Over 2,000 companies showcasing books in every format, sideline merchandise and other non-book products carried in book stores, as well as technology products and services for publishers. Every major U.S. publisher has a presence, along with hundreds of international publishers and medium to smaller domestic companies. BookExpo America is the largest collection of English-language titles under one roof."

BookExpo America is the annual book industry event -- offering over 300,000 square feet of exhibits, an education program with sessions for all segments of the industry, a rights center exclusively focused on the business of rights, plus numerous special events and netw's)
Ann Patchett reading from BEL CANTO (HarperCollins).

Addressing matters pertaining to ePublishing and eRetailing, an ePub Expo track sponsored by Overdrive, Inc. will form a pivotal part of the conference. Sessions include: "The Twenty-First Century Publisher: How to Profit in the Combined Print and Electronic World"; "The Erosion of Rights in the Age of Digital Distribution"; "Igniting the eBook Consumer Market"; and "Optimizing Web Content for Mobile Devices."

Among many other convention sessions are: "Fundamentals of Independent Bookselling: Strategies For Opening"; "Agenting 2020: Literary Agents in the Information Age"; "Selling Literary Magazines"; and "African American Booksellers Conference".

At 4:00 PM on June 2, the American Booksellers Foundation for Free Expression (ABFFE) will present a panel on media violence: "Murderous Media? The Debate Over Regulating Media Violence" -- with Richard Rhodes, author of WHY THEY KILL (Vintage) and Sara Paretsky, author of the V.I. WARSHAWSKI series. Moderated by Paretsky, the panel will explore several issues at the heart of the media violence controversy, including: "Are legal limits on media violence justified?"; "Is it possible to restrict 'gratuitous' violence without banning works that possess socially redeeming value?" "If restrictions on media will not help, what are some of the other ways of fighting violence and what can booksellers do to help?"

For more information on BOOKEXPO, visit http://www.bookexpoamerica.com

AMERICAN BOOKSELLERS ASSOCIATION (ABA) BOOKWEB -- http://www.bookweb.org

BOOKSENSE -- http://www.booksense.com

THE AMERICAN BOOKSELLERS FOUNDATION FOR FREE EXPRESSION (ABFFE) -- http://www.abffe.org

ABFFE MEDIA VIOLENCE DEBATE -- http://www.abffe.org/violencedebate.htm

The goal of the Arts in Education Model Development and Dissemination Grant program is to further develop model projects that effectively strengthen and integrate arts in elementary and middle school core academic curriculum.

The program will support projects which develop, document, evaluate and disseminate promising models which demonstrate their effectiveness in:

• integrating arts into the core elementary and middle school curricula

• strengthening arts instruction in these grades

• improving students' academic performance, including their skills in creating, performing, and responding to the arts.

Local school districts are eligible to apply. They may choose to work in partnership with one or more of the following: state or local non-profit or governmental arts organizations; state educational agencies or regional educational service agencies; institutions of higher education; and other public or private agencies with arts expertise. State or local non-profit or governmental arts organizations working in partnership with one or more school districts are also eligible to apply. They may partner with: state educational agencies or regional educational service agencies; institutions of higher education; and other public or private agencies with arts expertise.

$10 million is available for this program. It is anticipated that ten to fifteen projects will receive awards ranging from $350,000 - $1 million. Grant funds can be used for up to three years.

Closing Date: July 16, 2001

For more information, contact Margaret McNeely or Gillian Cohen, Arts in Education Model Development and Dissemination Program, Academic Improvement and Demonstration Programs, Office of Elementary and Secondary Education, U.S. Department of Education, 400 Maryland Avenue, SW., Room 3W312, FOB-6, Washington, DC 20202. Tel 202- 260-1335 (Margaret McNeely) or 202-260-7813 (Gillian Cohen) Email: artsdemos@ed.gov

Opportunities for Artists

NEW YORK CITY, NY -- The Charles A. Dana Foundation, a private philanthropic organization with interests in health and education, has extended its longtime interest in education to support innovative programs that foster improved teaching of the performing arts in public schools.

The Foundation is placing its initial emphasis on projects that are exported from, or imported to, New York City, Washington, D.C., Los Angeles, and their surrounding areas.

The Foundation is interested in professional development, including training and other enhancement experiences, for:

• classroom teachers who integrate the arts into the standard public school curriculum in the classrooms

• classroom teachers-to-be with an interest in arts integration

• specialists who teach only the various fields of the arts in their schools professional artists working with teachers and students in the schools or in school-related settings

The Foundation's interests include but are not limited to:

• Teaching of music, dance or theater based on a specific pedagogy

• Applying arts teaching methods to other disciplines

• Integrating an arts curriculum into classroom activities within a school's standard curriculum

• Fostering awareness, communication, support of arts education through parental involvement, school staff/art expert interaction, and community partnerships, including those with the private sector

• Developing an arts curriculum for one age group, or one which continues from early childhood education through the upper grade levels

• Strengthening training in the arts for current and prospective classroom teachers and school staff arts specialists

• Training professional artists to be effective in the classroom

• Teaching the arts in after-school programs

• Teaching the arts to students with learning differences

• Teaching the arts in schools with a diverse population of students

A continuing goal of the Foundation is to invest resources in ways that achieve a significant, measurable impact. For complete details, visit http://www.dana.org/grants/artseducation/guidelines.cfm

Details about these and other opportunities are available on Arts Wire's Web Site at http://www.artswire.org/current/calls.html To submit "calls" for either artists or organizations, send email to artswire@artswire.org

Deadline: June 7, 2001, free studio space for New York City visual artists, THE HENRY STREET SETTLEMENT ARTISTS-IN-RESIDENCE WORKSPACE PROGRAM

Deadline: June 15, 2001, (extended) Music, Performance, Film/Video, Visual Arts Spoken Word - Chicago area women, LADYFEST MIDWEST CHICAGO

Deadline: June 29, 2001, designer or artist to develop a Broward Cultural Heritage Landmark logo, BROWARD COUNTY COMMISSION CULTURAL AFFAIRS DIVISION/BROWARD COUNTY HISTORICAL COMMISSION

Deadline: June 30, 2001, short stories, RED HEN PRESS SHORT FICTION AWARD

Deadline: Ongoing, visual art, THE ALDRICH MUSEUM OF CONTEMPORARY ART, RIDGEFIELD CT

Arts and arts service organizations are invited to apply for Career in the Arts Internships, (CAI) a program which provides funding for organizations interested in providing internship opportunities for individuals with disabilities.

Through CAI, arts and arts service organizations may apply for up to $5,000 to integrate a qualified individual with a disability in an internship program. The funds may be used by the organization to cover administrative costs associated with managing the internship, provide the intern with a competitive stipend to cover living expenses, and provide auxiliary aids and services necessary for that intern to perform the duties of the internship.

CAI is an outcome of the 1998 NATIONAL FORUM ON CAREERS IN THE ARTS FOR PEOPLE WITH DISABILITIES sponsored by the National Endowment for the Arts, US Department of Education, US Department of Health and Human Services, and the Social Security Administration through a cooperative agreement with the John F. Kennedy Center for the Performing Arts.

The focus of CAI is to encourage arts and arts service organizations to provide experience, education and training to qualified individuals with disabilities interested in pursuing a career in the arts. The goal of CAI is to increase employment opportunities and make individuals with disabilities more competitive in the arts field.

Organizations will be responsible for identifying and recruiting a qualified intern with a disability as a part of this initiative. Internships must be at least one semester long, 15 to 40 hours a week, and occur between September 2001 and November 2002.

Applications must be received by August 14, 2001

Additional information on how to apply can be obtained by contacting: Betty Siegel, Manager of Accessibility, John F. Kennedy Center for the Performing Arts, Washington, DC 20566 tel: 202-416-8727 TTY: 202-416-8728 Email: access@kennedy-center.org website: http://kennedy-center.org/accessibility/internships/

Details about these and other jobs are available on Arts Wire's Web Site at http://www.artswire.org/current/jobs.html To submit jobs to ARTS WIRE CURRENT JOBS, send email to joblist@artswire.org

EXECUTIVE DIRECTOR, Illinois Philharmonic Orchestra, (Park Forest, IL)

EXECUTIVE PRODUCER, The National Minority Consortia, (Hollywood CA)

FULL-TIME FACULTY; DIRECTOR OF UNDERGRADUATE CURRICULA, Digital Design Department, Parsons School of Design, (New York City, NY)

ACADEMIC ADVISOR, Foundation Department, Parsons School Of Design, (New York City, NY)

DANCE INSTRUCTOR, Valncia Performing Arts Academy, (Winona, MN)

MUSEUM DIRECTOR; MUSEUM MANAGER, Children's Museum of the Arts, (New York, NY)

TECHNICAL DIRECTOR, Dance and Art Depts, St. Olaf College, (Northfield, MN)

PROGRAM MANAGER, Artistic Administration, American Symphony Orchestra League, (New York City, NY)

ASSOCIATE EDITOR, Terra Nova, New Jersey Institute of Technology, (Newark, NJ)

CONFERENCE DIRECTOR, Associated Writing Programs, (New York City, NY)

PROGRAM MANAGER, Education/Outreach, American Symphony Orchestra League, (New York City, NY)

MANAGING DIRECTOR, Walk & Squawk Performance Project, (Detroit, MI)

EDUCATION ASSISTANT, Solomon R. Guggenheim Museum, (New York City, NY)

WEBSITE DEVELOPER, Arts International, (New York City, NY)

QA ANALYST, Production Designer, (New York City, NY)

PUBLIC RELATIONS MANAGER, John Harms Center for the Arts, (Englewood, NJ)

COMMUNICATIONS DIRECTOR, The California Institute of the Arts, (Valencia, CA)

FACILITY SERVICES COORDINATOR, Lyric Opera of Chicago, (Chicago, IL)

DIRECTOR OF MARKETING AND GROUP SALES, New Jersey Repertory Company, (Long Branch, NJ)

FISCAL COORDINATOR, Brooklyn Academy of Music, Planning Department, (Brooklyn, N)

DIRECTOR OF DEVELOPMENT, Classic Stage Company, (New York City, NY)

PUBLIC RELATIONS AND MARKETING DIRECTOR, New Jersey Repertory Company, (Long Branch, NJ)

BUSINESS DIRECTOR; COMMUNICATIONS DIRECTOR, Plasticene Physical Theater, (Chicago, IL)

ASSISTANT DIRECTOR OF COMMUNICATIONS, New Jersey Symphony Orchestra, (Newark, NJ)

ASSOCIATE DEVELOPMENT DIRECTOR, The Academy of American Poets, (New York City, NY)

DEVELOPMENT ASSISTANT, Los Angeles Chamber Orchestra, (Los Angeles, CA)

EXECUTIVE ASSISTANT, HUMAN RESOURCES; ADMINISTRATIVE ASSISTANT, OPERATIONS AND ELECTRONIC MEDIA, San Francisco Symphony, (San Francisco, CA)

BUSINESS PLAN WRITER, Theatre For The New Millennium, (Phoenix, AZ)

GRAPHIC DESIGNER, (independent contractor) Richmond Art Center, (Richmond, CA)

INSTITUTIONAL GRANTS MANAGER, Berkeley Repertory Theatre, (Berkeley, CA)

CITYTIX ASSISTANT MANAGER, City Center, (New York City, NY)

A growing list of links to job resources for artists and arts administrators is available on Arts Wire's Web Site at http://www.artswire.org/current/jobres.html

"Do you have a historic media collection that's gathering dust?"

Independent Media Arts Preservation (IMAP) has launched its new web site -- http://www.imappreserve.org -- to help independent producers and arts and cultural organizations catalog their media works. Dedicated to the preservation of independent electronic media, IMAP is concerned about the loss of the history of non-commercial production, including video art, audio art, technology-based installation art, independent documentary and narratives, community media, and documentation of arts and culture.

The web site features an easy-to-use, standardized template for cataloging video or film collections as part of IMAP's Cataloging Project. The template is designed specifically for independent producers and non-profit organizations who have little experience with cataloging, but is useful for any archive with media holdings. In addition to the template, the web site provides sample cataloging entries, template instructions and preservation information. Users of the template may also access technical assistance via email.

IMAP recently received grants from the National Endowment for the Arts and the Rockefeller Foundation to create Phase II of the web site. Phase II, to be completed in 2001, will include a cataloging tutorial, with full instructions through "Quick Reference" pop-up boxes, additional sample entries, and expanded information resources.

By distributing the template, IMAP will lay the groundwork for a shared database of independent media collections that will be accessible to users through a common interface. Currently information about these collections is largely inaccessible.

The Cataloging Project is a national model for establishing a compatible information system for moving image collections across broad geographic regions, among a wide range of organizations and individuals.

For more information, visit http://www.imappreserve.org

Arts Wire's website at http://www.artswire.org is a central place to visit the cyberhomes of the diverse artists and art organizations who are Arts Wire members. This week CURRENT invites readers to visit the home page of the LONGWOOD CYBER ART GALLERY.

LONGWOOD CYBER -- http://longwoodcyber.com -- provides four artists a year with artist honoraria and nine months' access to the Longwood Cyber Studio in the Bronx where they work to develop interactive projects to be exhibited on the website. The Longwood Cyber Studio is equipped with workstations, visual arts and web development software programs, Internet connectivity, and video teleconferencing.

Participating Artists for the 2001 - 2002 Longwood Cyber Residency and Exhibition Program will be:

Karina Aguilera Skvirsky, a digital photographer who will be designing an interactive site in which viewers may explore the extent to which their social identity is constructed by the perceptions/assumptions of the host culture.

Sandra Annette Toro, whose work THE ASSIMILATION OF AN URBAN LATINA will explore the struggles of a Puerto Rican woman from the Bronx who must assimilate into an elite world of academe.

Jenna Spevack, who will be designing interactive models of alternate universes in which ideas in areas as diverse as science, religion and sociology may dovetail to form A THEORY OF EVERYTHING.

Heng-Gil Han, an installation artist whose interactive site will allow the viewer to explore the difference between Eastern and Western conceptions of the self.

Tatscru a group of Bronx-based muralists (Bio, Nicer and BG183) who, in collaboration with community businesses and service organizations, execute spray paint murals in public spaces. They will design an interactive educational sight using their own rise from subway graffiti artists to spray-paint muralists whose work is featured in museums and commissioned by businesses and the community to inform and inspire inner-city youth.

The current residents -- Tomie Arai, Wennie Huang, Valerie Atkisson, and Athena Robles -- are featured through June 30 in MEMORY, an exhibition curated by Eddie Torres at the Longwood Arts Project, the visual arts facility of the Bronx Council on the Arts in the South Bronx.

Longwood Cyber Residency and Exhibition Program is made possible by circuits@nys, an initiative of the New York State Council on the Arts in partnership with the New York Foundation for the Arts, National Endowment for the Arts, Bell Atlantic Foundation, Jerome Foundation, Bronx Information Network, Microsoft and Adobe. Additional funding for the Longwood Arts Project is provided by the Visual Arts Program of the New York State Council on the Arts, and the N.Y.C. Department of Cultural Affairs

Visit the site to find out more.

NEW YORK CITY, NY -- In January, Ron Protas, to whom Martha Graham willed her works and licenses, filed suit against the Martha Graham Center of Contemporary Dance, which reopened in January after a seven-month hiatus. The suit seeks to enjoin the Graham Center from using the names "Martha Graham" or "Martha Graham Technique".

In THE DANCE INSIDER, Paul Ben-Itzak covers testimony in the case, (in Federal court for the Southern District of New York in April) -- including questions from Judge Miriam Goldman Cedarbaum about whether or not Protas could perform the Martha Graham technique to whose name he claims exclusive rights and his response that he could not.

"When they talk about dance technique," The dance Insider quotes Graham dancer Yuko Suzuki as saying, "it's a language -- like English, Japanese, Spanish -- which should be shared by everybody so we can communicate with each other...."

Suzuki continued, The dance Insider reports, that her teachers include veteran Graham dancers Christine Dakin and Terese Capucilli. "Who else could teach the Graham technique? I've been here more than four years, and I've learned many things from them.... If you can't demonstrate that technique, if you've never experienced dancing it, you'll never understand it spiritually. You have to experience it.... The spirit comes after the dancing."

According to the WASHINGTON POST, if Protas wins the suit, he will seek to affiliate the Martha Graham trademarks and all rights and property with one of the major universities in New York City.

Sources/resources:

Paul Ben-Itzak
"Who Owns Martha Graham? Protas Gets His Close Up, and Dancers Get Their Day in Court"
THE DANCE INSIDER - http://www.danceinsider.com/f2001/f324.html
March 24, 2001

Sarah Kaufman
"Lawsuit Filed as Martha Graham Dance Center Reopens"
WASHINGTON POST -- http://www.washingtonpost.com/wp-dyn/articles/A4800-2001Jan17.html
January 17, 2001

"Dance Copyright Under Examination in Dispute about Performance of Martha Graham's Works"
Arts Wire CURRENT -- http://www.artswire.org/current/2000/cur080100.html
August 1, 2000

Howard Gardner, "Martha Graham: Discovering the Dance of America", CREATING MINDS. (NY, Basic Books, 1993)
Although Graham once said, according to CREATING MINDS, that "A dancer's instrument is his body bounded by birth and death. When he perishes, his art perishes also," she later allowed the recreation by other dancers of many of her works.

The CROSSING PATHS: A PERFORMING ARTS EDUCATORS FORUM, listed in last week's Arts Wire CURRENT, will be held in Indianapolis from *July* 26-29, 2001. For details, visit http://www.danceusa.org/

Arts Wire® is a service mark of the New York Foundation for the Arts. Individual membership of the New York Foundation for the Arts.

Map | News | ArtQuarry | SpiderSchool | Workshops | Support NYFA| Contact Us |