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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.

• Mid-size Performing Arts Organizations Face Financial Stress; Most Performing Artists Earn Little, are Likely to Have to Take Jobs Outside Their Profession, Study Finds

• Publications
  Adams and Goldbard, CREATIVE COMMUNITY: THE ART OF CULTURAL DEVELOPMENT - Rockefeller Foundation

• Conferences:
  MOVING RIVERS Will Explore how Demographic Shifts Impact Cultural Policy - Providence, Newport RI
  ARTS FOR LIFE/ARTES PARA LA VIDA - VSA arts of New Mexico
• Arts Events:
  HARLEM WEEK BLACK FILM FESTIVAL

• MONEY- Selected Listings from FYI

• Funding/Opportunties for Organizations:
  NEA Upcoming Deadlines: Access; Heritage/Preservation
  Canada to Invest More than $1 M in Developing Canadian New Media Content
• Opportunties for Individuals and Organizations:
  Jonathan Larson Performing Arts Foundation Grants
• Opportunities for Artists:
  Fourteen American Artists Receive Rockefeller Fellowships for Film, Video and Multimedia Projects
  ABC Daytime Fellowship Program
  Locust Projects Calls for Artists to Camp in the Gallery -- Creating a Living Environment
  Current Calls
• Job Opportunities:
  NEA Folk & Traditional Arts Infrastructure initiative to Support Start-up Folk Arts Positions
  Current Calls

• Arts Wire Web Reports:
  InterAct Theatre Company

• Elsewhere on the Net:
  Publix Theatre Caravan Members Arrested in Italy and Imprisoned

"We see evidence of a real shift in what American arts consumers want," observes Kevin McCarthy, who led the RAND study. "Because their free time is so fragmented, Americans are pursuing arts activities that allow them to choose what they want to do, when and where they want to do it -- a trend that attracts them to home-based entertainment rather than live performances. At the same time, Americans are participating in a remarkable variety of productions within their own communities. These trends may not bode well for many established arts organizations with more conventional offerings and program schedules."

The report, THE PERFORMING ARTS IN A NEW ERA by Kevin McCarthy, Arthur Brooks, Julia Lowell, and Laura Zakaras, also found that while the number of professional artists has doubled between 1970 and 1990, the pay and job security of artists have improved little since the 1970's.

With the exception of a few superstar artists, performing artists earn less, work fewer weeks, face higher unemployment and are much more likely to take jobs outside their profession than other professionals with comparable education levels, the report concludes. In the performing arts field, the average earnings of actors and directors is more than twice as high as the earnings of other performing artists. Musicians and composers earn substantially less. Dancers have the lowest annual earnings. However, the study also noted that the employment profile of performing artists "looks good compared with that of visual artists."

"...the presence of superstars continues to tilt the arts toward a select few performers," the report states. "Technological advances have helped magnify small differences in talent and diffuse that information, while marketing efforts have focused increasingly on certain artists as 'the best.' These developments tend to coalesce demand around a very few stars and drive their wages above everyone else's in the field. Like professional athletes, few performing artists make it to the top, but many are inspired by stories of those who do."

Most artistic careers, the report also observes, are composites of paid arts work, unpaid arts work, and non-arts work and are notably fluid, with a large number of part-time employees who move between arts-related and non-arts-related employment -- a complex situation which makes interpreting artists' employment statistics difficult.

The Performing Arts in a New Era analyzes the performing arts system, which it defines as theater, opera, dance, and music in both the commercial and nonprofit sectors. The major objective of the study was to examine trends affecting audiences, artists, organizations and finances and to identify the policy implications of those trends. Findings are based on data from the U.S. Census Bureau, and the Internal Revenue Service (IRS) as well as other sources, such as the GENERAL SOCIAL SURVEY and the National Endowment for the Arts (NEA) SURVEY OF PUBLIC PARTICIPATION IN THE ARTS. Additionally, the report utilized information from national arts service groups, including Association of Performing Arts Presenters; American Symphony Orchestra League; Dance/USA; OPERA America; and Theater Communications Group.

"...to the extent that midsized organizations offer centers of creativity and innovation, the potential decline of the middle tier could pose a particular threat," the report notes. "The decline of the middle tier could eliminate the set of organizations that provide the R&D necessary for the continuing growth of creativity and innovation in the arts."

However, it also observes the potential for the growing numbers of small nonprofit and for-profits, to serve as incubators, positing that for innovative works, what is crucial, "is not where a work is first performed but whether it is performed at all and thus has the opportunity to pass the test of time."

As an example of the obstacles to growth facing small performing groups, the report instances the field of modern dance, "As described by [Joan] Jeffri (1980), and we believe it is still true today, most modern dance groups do not have the capital to purchase or lease their own permanent performance spaces. Lack of a permanent home limits their potential for earnings growth in at least two ways: It makes them heavily reliant on touring, which typically involves fixed contractual fees for performances rather than box office ticket sales, and it restricts their ability to capitalize on a successful run because engagements are limited. Further, because modern dance companies are constantly on tour, they can find it difficult to build local constituencies for their work. This in turn makes it difficult to raise the capital necessary to establish a permanent performing space. A vicious cycle is created."

Universities are also cited as potential incubators for the performing arts. The reports observes that universities have increasingly served as developers of young talent in professional sports, and that they could also take on a larger role in nurturing performing artists.

The role of alternative and/or artist run/artist centered organizations does not seem to be adequately considered in the report. Further study -- including voices such as the National Performance Network,and the National Association of Artists' Organizations; artist-centered service organizations such as (to name just a few) Dance Theater Workshop and the National New Play Network; and service organizations which broaden the definition of the performing arts, such as Harvestworks Digital Media Arts Center -- could serve to enhance the report's findings as well as its representation of artists. (Regarding the latter, for instance, although the study details the problems facing artists, it nevertheless consistently uses the word "volunteer" to describe small underfunded artists groups and artists who must work without pay. The report's concluding "supply/demand" terminology and mind set are also questionable in this field.)

Among other findings related in The Performing Arts in a New Era are that electronically reproduced substitutes for live performances, the rising costs of attending a live performance, and an increasing preference for home-based leisure activities may endanger live performance; that funding for the arts increasingly has strings attached; and that the Internet offers a good platform for performing artists, particularly musicians, but there is a danger that the proliferation of choices may begin to overwhelm audiences, sending them to mega-media sites which provide filtered standard fare.

In the area of funding, the report observes that performing arts organizations rely on three main sources for their revenues: earnings, direct government subsidies, and philanthropic contributions. Earned income has remained relatively steady. However, federal government funding of the arts has decreased 50% in real terms since the early 1990's, although this decline has been moderated by increased funding from state and local governments. Individual contributions, while increasing more than any other single source of giving, generally come in the form of more numerous but small donations which require higher development costs. At the same time, corporate contributions, while growing, have been increasingly tied to individual corporate marketing campaigns.

"Funding from corporations has also been growing, but corporate donors are increasingly providing support for targeted purposes rather than giving unrestricted grants that allow organizations more flexibility in using these resources," the report points out. And it recommends that nonprofit institutions are likely to be best served by diversifying their sources of contributed income, "thus minimizing the effects of any one source on both the volatility of their budgets and the freedom of their programming."

In its discussion of Internet platforms, the report states that: "Web-based technologies are also allowing once geographically restricted forms of art to reach new and far-flung audiences. For musical groups, the benefits of the Internet are particularly strong, because it allows audiences to actually listen to their work and potentially even to buy it. But even for dance and theater groups, the Internet can be an important clearinghouse, allowing them to communicate with potential audiences and helping to create a community of support."

However it cautions that "As more artists seek to avail themselves of this new technology, the very proliferation of new artists and their products may overload audiences who find that they require intermediaries to alert them to the voices they want to hear."

In conclusion, among other things, the authors suggest that policy development for the arts today requires a deeper understanding of the public interests served by the art and of the role of government in supporting those interests. In particular, they recommend that greater resources be brought to bear on stimulating public involvement in the arts -- such as increased support for public education about and appreciation for the arts, developing the Internet as a platform for the arts and programs designed to diversify and broaden audiences for non-traditional as well as traditional art forms.

The Pew Charitable Trusts support nonprofit activities in the areas of culture, education, the environment, health and human services, public policy and religion. The Trusts' five-year, multi-million dollar initiative, Optimizing America's Cultural Resources, is designed to strengthen financial and policy support for American arts and culture.

Based in Santa Monica, California, RAND is a nonprofit institution that helps improve policy and decision making through research and analysis. RAND's areas of expertise include health, education, civil and criminal justice, child policy, environment and energy, international policy, national security, and science and technology. A related RAND study supported by the Rockefeller Foundation is examining the rise of the media arts, including independent film.

Sources/resources:

Kevin McCarthy, Arthur Brooks, Julia Lowell, and Laura Zakaras "The Performing Arts in a New Era"
RAND -- http://www.rand.org
supported by The Pew Charitable Trusts
July, 2001
A PDF version is available on THE PEW CHARITABLE TRUSTS website at http://www.pewtrusts.org/pdf/cul_rand.pdf
Hard copy ordering information is available on the RAND website at http://www.rand.org/publications/MR/MR1367/

The report also documents the work of the Rockefeller's Partnerships Affirming Community Transformation program. (PACT) PACT is an annual competitive program that supports community cultural development projects -- projects undertaken by artists and other cultural professionals in collaboration with other community members to express identity, concerns, and aspirations through the arts and media, building cultural capacity and contributing to social change.

Programs included in the report are Elders Share the Arts, (NYC) where projects include Living History Programs which transform life experiences into dance, theater, writing, visual arts and storytelling, for instance in projects in which youth and elders come together to develop oral histories; The San Francisco Mime Troupe's storytelling and improvisation workshops for high school students from diverse cultural backgrounds; the New WORLD Theater at the University of Massachusetts' LOOKING IN/TO THE FUTURE project which brought young Latinos and Southeast Asians from Western Massachusetts together to learn about theater as a means of exploring their own cultural identities and confronting the challenge of cross-cultural communication; and a series of projects undertaken by Seattle's Wing Luke Asian Museum with the aim of bringing out the hidden histories of local communities.

About the HEALING THE HEART TOTEM POLE PROJECT, a video documentary about how a bereaved father in Craig, Alaska mobilized the community to create and erect a totem pole in memory of his son who died from a drug overdose -- part of an epidemic of such deaths affecting native peoples, the report observes that "As friends and neighbors tell their stories on tape, a picture takes shape of the pressures that lead to such tragedies and the power of culture to heal such pain."

The Creativity & Culture theme at The Rockefeller Foundation has endeavored to maintain and build on the Foundation's tradition in the arts and humanities of an "assertive humanism," responsive to contemporary social conditions. "As globalization accelerates, community cultural development practice is more and more widely recognized as a powerful means of awakening and mobilizing alternatives to imposed cultural values. It is our hope that this report will help to further develop both the theory and practice of community cultural development," the Foundation states.

For printed copies of the report, write to:

Rockefeller Foundation
Job #3186 "Creative Community"
P.O. Box 545
Mahwah, N.J. 07430

WEB SITE -- http://www.rockfound.org
Click on programs and then click on Creativity and Culture for program information and application guidelines

MOVING RIVERS: NETWORK CONFERENCE 2001

Hosted by The Center for Arts and Culture, MOVING RIVERS: NETWORK CONFERENCE 2001 will explore how cultural policy is impacted by demographic shifts illustrated by Census 2000.

Conference panels will examine the intersection of demographics and cultural policy and highlight current scholarship in the field. Sessions will look through the lens of demography and culture within some of the Center's key policy areas including preservation and economic and community development.

Also highlighted will be CROSSROADS: ART AND RELIGION IN AMERICAN LIFE, edited by Alberta Arthurs and Glenn Wallach and published by the New Press in conjunction with the Center and the Henry Luce Foundation.

Registration and an evening reception will occur in Providence on Thursday evening. The sessions will take place in Newport, RI on Friday, and in Providence at Brown University on Friday evening and Saturday.

Speakers will include members of the Cultural Policy Network, recipients of the Cultural Policy Research Grants, the Center's Board of Directors, Research Task Force, (RTF) and members of the Rhode Island scholarly and policy communities, along with local practitioners, arts and cultural administrators, and interested members of the general public.

For complete details, visit http://www.culturalpolicy.org/networks/movingrivers.htm

Note that as of last week, there was still space available for the conference, but it is advisable to contact them as soon as possible.

ARTS FOR LIFE/ARTES PARA LA VIDA -- Transition & Transformation Through the Arts, A Learning Institute

"VSA arts of New Mexico invites you to celebrate our 20th anniversary with a wondrous multi-disciplinary arts experience -- our ARTS FOR LIFE/ARTES PARA LA VIDA LEARNING INSTITUTE."

The institute will focus on best practices and model programs that offer lifelong opportunities for freedom of expression and contribute to the transition from school to work through the arts for students with learning differences. The institute will spotlight methods and materials that support the creative growth of individuals with disabilities, their families, friends, educators, and support providers. Workshops, performances, exhibits, festivals, site visits, and community activities will demonstrate the inclusion of the arts and persons with disabilities in education, recreation, and the work place.

For additional information, contact:

VSA arts of New Mexico
4904 Fourth Street, NW
Albuquerque, New Mexico 87107
505-345-2872
505-345-2896 (fax)
NM Relay for the Hearing Impaired 1-800-659-833
web site: http://www.vsartsnm.org
email: info@vsartsnm.org

14TH ANNUAL HARLEM WEEK BLACK FILM FESTIVAL

The International Agency for Minority Artist Affairs (IAMAA), which is the Harlem Art Council, sponsors the 14TH ANNUAL HARLEM WEEK BLACK FILM FESTIVAL. Along with over twenty special films, participants will meet and greet Ms. Melba Moore the star of PURLIE; Rony Clanton the star of THE EDUCATION OF SONNY CARSON; and Oyafunmike Ogunlano the star of SANKOFA.

Among many others, the program includes:

LEGENDS OF ROCK 'N ROLL THE LOST FILMS, 2001, 60 min.
(Harlem Premier)
Gregory Javan Mills, editor. With Bo Diddley, Little Anthony & The Imperials, Frank Lymon & The Teenagers, Chuck Berry, Little Richard, Big Maybelle, Ruth Brown, the Larks, Clovers, Moonglows, Platters, Ink Spots and others. Plus the Harlem Premier of THE SOUL OF ROCK N ROLL, Gregory Javan Mills, editor. With Marvin Gaye, Temptations, Supremes, Chubby Checker, Miracles, Rufus Thomas, Isley Brothers, many more.

UNDERGROUND RAILROAD, 1998, 100 min.
Susan Michaels, director
(Harlem Premier)
"It had no rails, no phantom trains, no shadowy subterranean tunnels. But for those 'passengers' who successfully travelled what came to be known as the Underground Railroad, there was a very real destination Freedom."

AGAINST THE ODDS - THE ARTISTS OF THE HARLEM RENAISSANCE, 1994, 60 min.
Amber Edwards, director
(Harlem Premier)
Narrated by actor Joe Morton, this documentary features more than 130 rarely seen paintings, prints, photographs and sculptures by black artists, as well as archival footage of those artists at work.

Admission is $5 for adults, $4 seniors/students with valid ID. For information, visit http://www.harlem.cc or call 212-749-5298 or email Gregory Javan Mills at iamaa@pipeline.com

Deadline: August 31, 2001 - THE DANIEL LANGLOIS FOUNDATION FOR ART, SCIENCE, AND TECHNOLOGY offers a Researcher in Residence program. With this program, the Foundation hopes to further acknowledge how new digital technologies affect human beings and society. Each year, the Foundation will a offer various topics that researcher's proposals must address. The program of Grants for Researchers in Residence is open to artists, historians, curators, critics, independent researchers, and scientists in various fields. Applicants must be researchers at the doctoral or post-doctoral level, or demonstrate that they have equivalent experience relevant to the research topics announced by the Foundation, or have achieved an international reputation for research in art, science, and technology. For more information, contact: Daniel Langlois Foundation for Art, Science, and Technology; phone 514-987-7177; email info@fondation-laglois.org or visit http://www.fondation-langlois.org

Deadline: September 15, 2001 - THE JUDITH ROTHSCHILD FOUNDATION makes grants to present, preserve, or interpret work of the highest aesthetic merit by lesser-known American painters, sculptors, and photographers who have died after September 12, 1976. To request Grant Program Guidelines, write to: The Judith Rothschild Foundation, 1110 Park Ave., New York, NY 10128; or phone 212-831-4114. Requests must be submitted and postmarked between April 15th and September 15th of each year.

Deadline: September 15, 2001 - SMACK MELLON STUDIOS offers studio space to artists for a one-month to one-year period. The studio program provides artists working in all media studios, workshop facilities, technical support, and high-speed Internet access. The program does not provide living space. The studios are accessible to artists 24 hours a day, seven days a week. Applicants must be 18 years or older, may not be enrolled in school, and must demonstrate a need for a studio. For more information, contact: Smack Mellon Studio Program, 70 Washington St., Brooklyn, NY 11201; or visit http://www.smackmellon.org

Applications for NEA Grants in the categories of Access and Heritage/Preservation are due August 13, 2001.

ACCESS: ACCESS TO THE ARTS FOR ALL
The Access goal encompasses a wide variety of projects that seek to make the arts more widely available. Access projects often seek to reach those in underserved areas; or those whose opportunities to participate in the arts may have been limited by age, disability, language, or educational, geographic, ethnic, or economic constraints. Projects may include, but are not limited to:

• Exhibitions, performances, distribution of artistic work, and other activities that provide public access to a diverse range of art in settings that may include arts spaces, community centers, schools, senior centers, parks, etc.

• Touring to rural, state-wide, or multi-state areas.

• Outreach projects that involve diverse communities and reach new audiences.

• Innovative uses of new technology to enhance public access to the arts.

• Educational activities in the arts (not for academic credit) that are offered to adults or intergenerational groups.

• Significant arts programs that are intended for national broadcast on television or radio should apply under the FY 2002 Arts on Radio and Television guidelines.

HERITAGE/PRESERVATION: PRESERVATION OF OUR CULTURAL HERITAGE
Heritage/Preservation seeks to honor, assist, encourage, preserve, and present those forms of artistic expression and practice that reflect the many cultural traditions that make up our nation. Projects may include, but are not limited to:

• Festivals, exhibits, publications/anthologies, and other presentations of artists and art forms that reflect and increase the public's appreciation for our diverse cultural traditions.

• Apprenticeships and other forms of instruction that pass artistic repertoire, techniques, and traditions on to future generations.

• The documentation, recording, or conservation of highly significant works of art, artifacts, built or designed elements, collections of art, or of cultural traditions and practices.

• Significant arts programs that are intended for national broadcast on television or radio should apply under the FY 2002 Arts on Radio and Television guidelines.

For complete guidelines and application details, visit http://www.arts.gov/guide/Orgs02/OrgIndex.html

MONTREAL - As part of an over $500 million three year arts funding package, The Canadian government plans to invest more than $100 million developing Canadian content in new media, including the digitization of museum collections, according to CBC INFOCULTURE.

CBC InfoCulture quotes Canadian Heritage Minister Sheila Copps as saying that more Canadian content is needed for the Internet, -- particularly in French: "We want to have some shelf space for our own stories. We want to hear the voices of ourhr>

Opportunities for Artists and Organizations

The Jonathan Larson Performing Arts Foundation was created to provide encouragement and financial assistance to composers, lyricists, bookwriters and other creative artists as well as nonprofit producing companies. Their current priority is individual creative artists working in musical theatre. Consideration is also given to small and medium-sized producing organizations which can demonstrate a commitment to developing and producing new musical theatre and musical theatre artists or offer a unique service to the field.

Grant awards are based on merit and need, with particular attention to vision, commitment and dedication to an ongoing career in the performing arts. Average grant awards in prior years have ranged from $2,500 to $10,000.

The Foundation keeps alive the spirit of Jonathan Larson, New York-based composer-lyricist-librettist of RENT, a rock opera inspired by LA BOHEME. Larson died from an undiagnosed aortic aneurysm.

"He lived on the edge of poverty, preferring to work as a waiter rather than divide his concentration with jingle- or copywriting," the Foundation states. "....Jon addressed his disappointment in TICK, TICK . . . BOOM! (1990), an autobiographical rock monologue influenced by the work of Eric Bogosian and Spalding Gray. In the course of twelve songs and stories, he told half-funny, half-bitter tales of bad readings and waiting tables...."

His works also include J. P. MORGAN SAVES THE NATION, (1995) a sardonic history lesson about capitalism which was written specifically for outdoor performances in New York City's financial district.

The primary focus of the Foundation is the support of individual creative theatre artists in the musical theatre field. Individuals may apply for general support for the ongoing development of their work, or support for a particular project. Collaborators who work together regularly may apply as a team.

"These grants recognize your talent as an artist, and are specifically meant to be used in ways that will help you the most in furthering your work - rent, equipment, babysitters, copying costs - there are no restrictions," the foundation states.

Organizations which can demonstrate a long-term commitment to developing and supporting those theatre artists can apply for general support. Other theatres are encouraged to apply for project support, for the development and production of a new musical theatre project; a portion of the project support grant must go to the creative artists involved in the project.

Proposals must be postmarked by September 10, 2001.

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

Opportunities for Artists

The Rockefeller Foundation has announced 2001 winners of its Film, Video and Multimedia Fellowship Awards. This year's awards support such work as an experimental film that ponders whether science and technology will ultimately save or destroy mankind; (Ken Kobland, NYC, for THE ANGST ARCHIVE) a narrative feature that probes the life of a young black man leaving his home in public housing in Brooklyn for college in Atlanta: (Jim McKay, NYC, for ON THE WAY OUT) and an interactive installation that examines people's cultural, spiritual and physical survival. (Vibeke Sorensen, Solana Beach, CA, for SANTUARY).

Other fellowship recipients are:

Deann Borshay Liem (Berkeley, CA) for INTO THE ARMS OF STRANGERS, a feature-length documentary probing the factors that led South Korea to become the world's largest supplier of children for adoption.

Jill Godmilow (South Bend, IN) for ANIMAL FILM, a documentary about human relationships with and responsibilities toward animals.

Kayo Hatta (Topanga, CA) for RAW FISH, a darkly comic narrative feature about a charismatic Buddhist priest who decides in midlife to leave his ministry in Hawaii to open a sushi restaurant in Manhattan.

Julia Heyward (New York, NY) for MIRACLES IN REVERSE, an interactive digital videodisc that examines trauma and its aftermath of chaos, fear, acceptance, forgiveness and love.

Mary Lucier (Cochecton, NY) for GHOST TOWNS (THE EMPTYING OUT OF THE PLAINS) a video installation about an area now experiencing its greatest outward migration since the Great Depression.

Malinda Maynor (Chapel Hill, NC) for LABORS OF LOVE: LUMBEE INDIAN ART & WORK, a project that will explore how Lumbee identity in rural and urban settings has been maintained and also has changed.

Ed Radtke (Yellow Springs, OH) for SUPERHEROES, a narrative feature film that will weave together an ensemble of characters who have incorporated video technology into their lives.

Lynne Sachs (Baltimore, MD) for INVESTIGATION OF A FLAME, an experimental documentary of the Catonsville Nine protesters against the Vietnam War.

Carolee Schneemann (New Paltz, NY) for TRANSPORT, a video installation that contrasts simple technologies, nature and the human body.

Tran T. Kim-Trang (Los Angeles, CA) for CALL ME SUGAR, an experimental narrative about a single, working mother of six who emigrated from Vietnam to the United States.

Kinan and Anahuac Valdez (San Juan Bautista, CA) for BALLAD OF A SOLDIER, the tragicomic tale of a young dreamer who leaves his family, his love and his barrio to "be somebody" by fighting in Vietnam.

"As in years past, these artists offer us a dazzling kaleidoscope of cultural backgrounds and individual visions, aesthetic breakthroughs and urgent social concerns. We are proud to fund artists of such strength and originality," said Joan Shigekawa, Associate Director for Creativity & Culture at the Rockefeller Foundation.

The fellowship program recognizes and supports 14 gifted media artists in the United States annually. It encourages diverse cultural perspectives and innovative forms of expression, such as renewing classical traditions and experimenting with new technologies.

Artists are nominated for the Rockefeller fellowships by a national committee of their peers, and finalists are selected by an international panel of media artists, critics, scholars and curators. Artists receive a grant of $35,000 to develop their emerging work. National Video Resources, a not-for-profit organization established by the Rockefeller Foundation in 1990, administers the program.

During its 14-year existence, the Film/Video/Multimedia Fellowship Program has awarded 189 fellowships in the United States. In addition, since 1992, the Rockefeller Foundation, along with the John D. and Catherine T. MacArthur Foundation and the Ford Foundation, has provided fellowships to 84 media artists in Latin America.

For more information, visit the Rockefeller Foundation website at http://www.rockfound.org

NEW YORK CITY. NY -- As part of a commitment to the development of new creative talent and to the employment of culturally and ethnically diverse new writers, ABC television is offering fellowships in story development for daytime drama for up to two writers to work developing their craft at ABC Daytime.

Fellows will each be provided a flat weekly salary of $653.85 ($34,000 annualized) for a one-year period tentatively scheduled to begin January 2002. Fellows chosen outside the New York area will be provided with round trip airfare and one month's accommodations.

Compete details are available on Arts Wire's calls page at http://www.artswire.org/current/calls.html

ABC Fellowship website: http://www.abcnewtalent.disney.com

MIAMI, FL -- Five artists invited to create TENT, a living environment in the Locust Projects gallery, will commit to not leaving the gallery for the duration of 2 days and 2 nights. The artists will bring everything they need -- food, water, and other necessities -- to get through that time. No visitors will be allowed in Locust until the opening reception at the conclusion of their stay. A bathroom with toilet and running water is available, but there is no shower. The artists will bring no computers, no cell phones, will have no connection with the outside world.

They will document their experience through video, and the remnants from the living quarters and the video of the experience will be exhibited for the duration of the show.

Artists are invited to submit proposals for the exhibition Tent, which will run from September 15th - October 12th, 2001. For application information, visit http://www.locustprojects.com

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 September 1, 2001, Prose, Poetry, Art, and Essays Addressing the Environmental/Air, TERRA NOVA

Deadline October 12, Proposals for Durational Performative Works, THE NEW GALLERY, CALGARY

Deadline: December 1, 2001, Photo Artists, PHOTO OP '02, SALT LAKE CITY WINTER OLYMPIC GAMES

Deadlines: various, (Fall 2001) Papers, Artist & Tech Sketches, Generative Audio & Video, Generative Art Software, 2ND INTERNATIONAL CONFERENCE ON GENERATIVE SYSTEMS IN THE ELECTRONIC ARTS, 5-7TH DECEMBER, 2001, MELBOURNE, AUSTRALIA

Deadline January 31, 2002, Collaboration Between a Writer and a Photographer in the Formative or Fieldwork Stages of a Documentary Project, DOROTHEA LANGE-TAYLOR PRIZE

Deadline: ongoing, Artists and Writers, AFROPOETS and ARTSYARD websites

Deadline: ongoing, Video Art, Jaraf Video@45, MONTHLY PROGRAM OF VIDEO ART, NYC

The National Endowment for the Arts (NEA) Folk & Traditional Arts Infrastructure Initiative advances the Arts Endowment's goal to honor, assist, encourage, and present those artists and forms of artistic expression and practice which reflect the many cultural traditions that make up our nation by strengthening the state and regional infrastructure of support for the folk and traditional arts.

For fiscal year 2002, the Folk & Traditional Arts Infrastructure Initiative will support up to twelve start-up folk arts positions at local arts agencies and community-based cultural organizations. Priority will be given to professional folk arts positions which address the needs of previously underserved geographic or cultural communities. Positions should have the potential to become self-sustaining within three years, and may not be used to assume the costs of existing positions.

Deadline: October 1, 2001

Prior to August 31, 2001, organizations interested in applying for this pilot initiative must consult with the Folk & Traditional Arts staff at 202-682-5678 or 202-682-5726 For guidelines and application forms, visit http://www.arts.gov/guide/Folk02/folkindex.html

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, National Guild of Community Schools of the Arts, (Englewood, NJ)

EXECUTIVE DIRECTOR, Mississippi Arts Commission, (Jackson, MI)

EXECUTIVE DIRECTOR, Rockford Dance Company, (Rockford, IL)

EXECUTIVE DIRECTOR, Boston Cecilia, (Brookline, MA)

EXECUTIVE DIRECTOR, Santa Cruz County Symphony, (Santa Cruz, CA)

EXECUTIVE DIRECTOR, PUBLIC CELEBRATIONS, Cambridge Arts Council, (Cambridge, MA)

EXECUTIVE DIRECTOR, Portland Baroque Orchestra, (Portland, OR)

EXECUTIVE DIRECTOR, Arts and Humanities, Department/Commission, City of Salina, (Salina, KS)

TENURE-TRACK FACULTY, Media Services Center and Electronic Media Technology, Raymond Walters College, (Cincinnati, OH)

DRAMATIC THEORY/ASSISTANT PROFESSOR; SCENIC DESIGNER/ASSISTANT OR ASSOCIATE PROFESSOR, Ithaca College, (Ithaca, NY)

DIRECTOR, Abrons Art Center, Henry Street Settlement, (New York City, NY)

MANAGING DIRECTOR/COMPANY MANAGER, Echo Theater Company, (Los Angeles, CA)

GENERAL MANAGER, Shakespeare Festival/LA, (Los Angeles, CA)

STAGE MANAGER, (community ballet company), (Barrington, IL)

PRODUCTION COORDINATOR, (50%) College of the Canyons, (Santa Clarita, CA)

PRODUCTION RENTAL COORDINATOR, San Francisco Opera, (San Francisco, CA)

DIRECTOR, Philipsburgh Hall Performing Arts Center, (Yonkers, NY)

FINE ARTS COORDINATOR, The City of Tempe, (Tempe, AZ)

PROGRAM COORDINATOR, The Arts Council of Rockland, (Spring Valley, NY)

PROGRAM COORDINATOR, Hinsdale Center for the Arts, (Hinsdale, IL)

VISUAL ARTS SPECIALIST, John Michael Kohler Arts Center, (Sheboygan, WI)

DEPUTY DIRECTOR; SPECIAL ASSISTANT TO THE DIRECTOR; MARKETING OFFICER; SPECIAL EVENTS OFFICER, California Arts Council, (Sacramento, CA)

MUSEUM EDUCATOR, The Brooklyn Museum of Art, (Brooklyn, NY)

ASSOCIATE CURATOR, Wexner Center for the Arts, (Columbus, OH)

COLLEGE ART GALLERY DIRECTOR, (one-year, part-time staff) St. Mary's College of Maryland, (St. Mary's City, MD)

ASSISTANT EDITOR, The Detroit Institute of Arts, (Detroit, MI)

ASSISTANT CURATOR, EDUCATION & MEDIA PROGRAMS, New Museum of Contemporary Art, (New York, NY)

EDUCATION PROGRAM COORDINATOR/ADULT INTERPRETIVE PROGRAMS, Solomon R. Guggenheim Foundation, (New York City, NY)

PROGRAM SPECIALIST PUBLIC PROGRAMS, Division of Education, Carnegie Museum of Art, (Pittsburgh, PA)

CURATOR OF EDUCATION, PRESCHOOL INSTRUCTOR, John Michael Kohler Arts Center, (Sheboygan, WI)

DIRECTOR OF ARTIST AND REPERTOIRE DEVELOPMENT, The East Bay Center for the Performing Arts, (Richmond, CA)

COORDINATOR OF COMMUNITY PROGRAMS, The International Center of Photography, (New York City, NY)

DIRECTOR OF EDUCATION, The Katonah Museum of Art, (Katonah, NY)

ACTORS AND PLAYWRIGHTS, Pennsylvania Performing Arts Academy, (North Wales, PA)

DANCE COMPANY AUDITIONS; VOICE COMPANY AUDITIONS (SINGERS) Pennsylvania Performing Arts Academy; (North Wales, PA)

COMPOSER/TEACHER, University Settlement, (New York, NY)

TEACHER - THEATER, Calverton School, (Huntingtown, MD)

PRE-SCHOOL DANCE TEACHERS, Pennsylvania Performing Arts Academy, (North Wales, PA)

PIANO TEACHERS, VOICE TEACHERS, VIOLIN OR GUITAR TEACHERS, Pennsylvania Performing Arts Academy, (North Wales, PA)

AFTER SCHOOL PROGRAM COORDINATOR, The Jamaica Center for Arts and Learning, (Jamiaca, NY)

ASSISTANT TO DIRECTOR OF IN-SCHOOL PROGRAMS, ArtsConnection, New York City, NY)

EDUCATION ASSOCIATE, The Acting Company, (New York City, NY)

ARTS ED ASSISTANT, The East Bay Community Foundation, (Oakland, CA)

FILM AND DIGITAL VIDEO TECHNICAL ASSISTANT, Film and New Media Program, Occidental College, (Los Angeles, CA)

PUBLICATIONS AND NEW MEDIA ASSISTANT, Whitney Museum of American Art, (New York City, NY)

ASSISTANT EDITOR, Whitney Museum of American Art, (New York City, NY)

ASSOCIATE EDITOR, Whitney Museum of American Art, (New York City, NY)

VISUALS, PRESS, AND WEBSITE MANAGER, Contemporary Art Gallery, (New York, NY)

PUBLIC RELATIONS/MARKETING DIRECTOR, Albany Symphony Orchestra, (Albany, NY)

COMMUNICATIONS DIRECTOR, Brooklyn Academy of Music, (Brooklyn, NY)

PROGRAM ASSOCIATE, VISUAL & MEDIA ARTS INITIATIVES, Lower Manhattan Cultural Council, (New York City, NY)

ASSISTANT TO THE PRODUCING ARTISTIC DIRECTOR, Passage Theatre, (Trenton, NJ)

PRODUCTION ASSISTANTS, Austin Musical Theatre, (Austin, TX)

MEMBER SERVICES AND FESTIVAL DIRECTOR, Boston Film/Video Foundation, (Boston, MA)

FINANCE MANAGER, Mark Morris Dance Group, (New York City, NY)

DEVELOPMENT DIRECTOR, Ann Arbor Summer Festival, (Ann Arbor, MI)

DEVELOPMENT DIRECTOR, UrbanGlass, (Brooklyn, NY)

DEVELOPMENT DIRECTOR, Bill T. Jones/Arnie Zane Dance Company, (New York City, NY)

DEVELOPMENT DIRECTOR, The Santa Cruz County Symphony, (Santa Cruz, CA)

DEVELOPMENT ASSOCIATE, 92nd Street Y, (New York City, NY)

EXECUTIVE ASSISTANT TO THE DIRECTOR, National Museum of Women in the Arts, (Washington, MA)

BUSINESS ADMINISTRATOR, Aljira, a Center for Contemporary Art, (Newark, NJ)

MANAGER OF MARKETING & DEVELOPMENT, The New York Youth Symphony, (New York City, NY)

ASSISTANT MANAGER, MARKETING & GROUP SALES, New Jersey Symphony Orchestra, (Newark, NJ)

DEPARTMENT SERVICES COORDINATOR, (GALLERY COORDINATOR / ADMINISTRATIVE ASSISTANT) Art History & Visual Arts, Occidental College, (Los Angeles, CA)

ADMINISTRATIVE ASSOCIATE, Aljira, a Center for Contemporary Art, (Newark, NJ)

ASSISTANT MANAGER OF VISITOR SERVICES, Dia Center for the Arts, (New York, NY)

PROGRAM ASSOCIATE, TOURING AND MATINEE PERFORMANCES, Urban Gateways Center for Arts Education, (Chicago, IL)

ADMINISTRATIVE ASSISTANT, Solomon R. Guggenheim Foundation, (New York City, NY)

ADMINISTRATIVE ASSISTANT, Symphony Space, (New York City, NY)

ARTS ADMINISTRATION, (consulting firm) (Brooklyn, NY)

ADMINISTRATIVE ASSISTANT, (contemporary art) (New York City, NY)

ADMINISTRATIVE ASSISTANT/RECEPTIONIST, Hinsdale Center for the Arts, (Hinsdale, IL)

ADMINISTRATOR, Michal Schmidt Artists International, (New York City, NY)

ARTS ASSISTANT, (part time) Cultural Affairs Division
(Fort Lauderdale, FL)

INTERN, Dance Division, IMG Artists, (New York City, NY)

INTERN, BAMcinematek, (Brooklyn, NY)

COMMUNICATIONS AND PUBLIC RELATIONS INTERN, The Brooklyn Academy of Music, (Brooklyn, NY)

INTERNSHIPS, White Box, (New York City, NY)

INTERNS, MCC Theater, (New York City, NY)

DEVELOPMENT INTERNSHIP, French Institute Alliance Francaise, (New York City, NY)

ASSISTANT / INTERN, Villa Grisebach Auctions, L.P., (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

Founded in 1988, the Philadelphia-based InterAct Theatre Company -- http://www.interacttheatre.org/ -- produces a season of plays, which explore contemporary issues and are new to area audiences. By producing world-class, thought-provoking productions, and by using theatre as a tool to foster positive social change in the school, the workplace and the community, InterAct works to educate, as well as to entertain.

"To me, the theatre is a mirror which we hold up to ourselves in order to have a good laugh at our foibles, examine our frailties, challenge our beliefs, deepen our understanding of each other, or all of the above," Producing Artistic Director Seth Rozin writes in an article on the website. "Bringing a new play by a living playwright to the stage is the most exciting and rewarding way to fulfill the purpose of the theatre."

Productions documented on the site include:

NIXON
written by Russell Lees
directed by Seth Rozin
starring Tim Moyer and Harry Philibosian
"On the eve of Richard Nixon's resignation, Henry Kissinger visits the President. The two most influential men in America engage in scandalous brainstorming and theatrical role-playing as they try to hold onto their empire and assess their places in history. This dark and scathing comedy about power and posterity has gained critical acclaim at theatres across the country." (A co-production with Act II Playhouse)

IT'S ALL TRUE
written by Jason Sherman
directed by Seth Rozin
starring Scott Greer, Anthony Lawton and Catharine K. Slusar
"Broadway 'wunderkind' Orson Welles and John Houseman ignore growing labor tensions and challenge government censorship as they rally to stage Marc Blitzstein's controversial musical, The Cradle Will Rock. IT'S ALL TRUE is a fast-paced, sharply written, passionate comedy about the magic of theatre and the commitment to something greater than yourself."

The 2001-2002 Season: "A Season of Science and Religion" will feature GOD'S MAN IN TEXAS by David Rambo; JAMBULU by Mary Fengar Gail; and MISSING LINK by Seth Rozin, among others.

"In a time when our communities are rapidly diversifying, when information of all kinds is so accessible to most of us, when we can watch a war on television, when we can be up-to-the-minute witnesses to political debates and criminal trials, the theatre is a valuable mirror. InterAct uses the unique power and magic of the theatre to ask difficult questions about the world we live in, examining the forces that influence what we believe and why....," InterAct states.

Designed by klatha.com -- http://www.klatha.com -- which provides technology and Internet Consulting for artists, small-businesses, and non-profit organizations, the website integrates photographs of recent productions with text documentation -- drawing in the viewer with compelling images and clear documentation, while at the same time not overwhelming the information with flashing graphic elements. A clear calendar highlighting the dates and year of each production and forthcoming production, as well as more detailed information about all forthcoming productions, would be helpful additions.

Submission guidelines for plays are available on the site at http://www.interacttheatre.org/subguidelines.html

On Monday July 24, the Publix Theatre Caravan, an international multimedia performance group was stopped by police in Recco, a small city near Genoa, Italy. Twenty-five persons from Australia, Germany, Austria, Sweden, Slovakia and the US were arrested.

According to the noborder network, the Publix Theatre Caravan had been traveling from refugee camps to nobordercamps and counter-summits where artists, actors and experimental theatre activists staged performances, played music and shot videos. On leaving Genoa the Publix Theatre Caravan, which was on the way to the nobordercamp in Frankfurt, was stopped and arrested by Italian police. They are currently held in prison, awaiting a trail within the next six months.

"The accusations levelled against them are as absurd as they could possibly be," noborder network states. "The artist group is accused of vandalism and endangering public safety. The court acts on the assumption that the Publix Theatre Caravan is the core of a so called 'black bloc'!"

"We are not swedes, australians, americans, slovacians, germans, austrians - we are Publixtheatrecaravan," the group writes in a statement circulated by email. "We work out a play in which we take a stand to everything that happened during our tour. For us theatre is an important political expression. This play should help to clear and digest all the happenings we are confronted with now.

Working title Genova
Premiere uncertain"

For complete details, visit the noborder network WEBSITE at http://www.noborder.org