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.

• White House Appoints New IMLS Head Robert Martin as Interim NEA Chair
  SPECIAL REPORT: ARTISTS COMMUNICATING ONLINE

  Online Conferencing is no longer an Integral Internet Application, but -- from The Poets & Writers Speakeasy
  to Voice of the Dance's Message Board -- There are Still Places Online Where Artists Can Share Information and Ideas

• Martha Graham Center and School Win Decision to Retain Use of Martha Graham's Name

• Festivals, Conferences:
  DANCENOWFEST 2OO1 - NYC
  DANCE FOR THE CAMERA FESTIVAL AND WORKSHOP - University of Utah
• Arts Events:
  Eliza Miller Dance Company: MAERCHEN - NYC, Lexington, NY
  Luna Negra Dance Theater - Chicago, IL

• Funding/Opportunties for Organizations:
  2001 Fund for Creative Communities - Technical Assistance Workshop Schedule - NYC
  Driehaus Foundation Funding Program for Small Chicago Theater and Dance Companies
• Opportunities for Artists:
  Dance/USA and NEA National College Choreography Initiative Unites Professional Dance Artists with College Dance Students
  Current Calls
• Job Opportunities
  

• Elsewhere on the Net:
  "The Big Ask": Outgoing NEA Chairman Bill Ivey Asks: What Should We do Now?"

A Professor and Interim Director of the School of Library and Information Studies at Texas Women's University (TWU) in Denton, Texas, Martin has also been Director and Librarian of the Texas State Library and Archives Commission. His areas of interest encompass the history and development of information technologies; telecommunications and information policy; as well as scholarly communication.

Martin's courses at TWU included "Libraries and Culture" which provided an introduction to cultural theory and its application to understanding libraries and the role of libraries in cultural transmission. With a focus on reading and print culture, the course also examined the impact of digital technology on print culture and the future of libraries in the digital context -- utilizing reading which ranged from Elizabeth Eisenstein's THE PRINTING REVOLUTION IN EARLY MODERN EUROPE; (Cambridge University Press, 1983) to Janice A. Radway's READING THE ROMANCE: WOMEN, PATRIARCHY AND POPULAR LITERATURE; (University of North Carolina Press, 1991) to Camille Bacon-Smith's SCIENCE FICTION CULTURE. (University of Pennsylvania Press, 2000)

According to the National Assembly of State Arts Agencies, (NASAA) Martin will assume leadership of both posts until President Bush announces his choice for Chairman of the NEA and the Senate confirms the nomination.

Sources/resources:

NATIONAL ASSEMBLY OF STATE ARTS AGENCIES -- http://www.nasaa-arts.org

ROBERT S. MARTIN'S HOME PAGE -- http://twu.edu/~f_martin/

Leisha Mitchell
"Internet censorship remains a political issue"
TWU LASSO ONLINE -- http://www.twu.edu/library/lasso/00426/news.html#anchor645791
Martin is quoted as saying that filters in libraries leave people with a false sense of security and are not the answer to this difficult and complex problem: "What we don't need is legislation at the federal and state levels mandating what librarians should do. Instead, librarians should meet with the community and decide what is best."

"The Next NEA Chair? - Suggestions from the Arts Community"
Arts Wire CURRENT -- http://www.artswire.org/current/2001/cur081401.html
August 14, 2001

Online Conferencing, an integral part of the early Internet environment, is not a core component of today's Internet experience. Nevertheless, from Poets & Writers' SPEAKEASY to the Message Boards on VOICE OF THE DANCE, there are places online where artists can interactively communicate with each other about key issues -- making contacts, sharing experiences and information, and finding audiences for their work.

As is currently now true in many areas of the arts, in the new music community, Listservs are now a more prevalent form of communication. Composer/musician Tom Bickley, former host of online new music discussions on Diversity University, says that he thinks the Listservs are doing a good job. But he adds that they aren't the same as real-time interaction. "I miss that aspect of the meetings I hosted. I guess I'd say that the up side of going from a MOO to a Listserv is that more people are connected; however the down side of that shift is that the people are connected less intensely and that connection does not necessarily include active participation in the dialog."

"Bulletin Boards have the power to connect theatre colleagues in isolated areas, particularly to help maintain relationships that have been established through TCG conferences, forums and meetings," says Jennifer Sokolov, Editor for the Theatre Communications Group (TCG) website where publicly accessible forums include topics on costume design; on workshops for writers; on women in technical theater; on performance space in Manhattan; and on new American plays.

Unlike email exchanged Listserv communication, online conferencing systems -- sometimes called Chats or Message Boards or Bulletin Board Systems (BBS) -- allow participants to log on to a host and communicate interactively, either in real time, as in MOO environments, or in flexible, additive conferencing systems, run by a various conferencing software applications.

"Our chat program offers access to theatre artists and leaders that defies the limitations of geography," TCG Website Editor Sokolov observes. "Having the mechanisms for people to communicate has been an important step for TCG. Getting the word out to our constituents and to the field at large is the challenge for us and for any organization interested in establishing an online community."

VOICE OF THE DANCE CEO Lori Smith also thinks the message board component of her site is valuable to the dance community which the site serves. In particular, a discussion on eating disorders has generated a lot of interest, she told Arts Wire. Eating disorders are also a hot topic on other dance sites, such as on DANCE ONLINE's "Dance Talk".

But artist Tom Igoe, Visiting Assistant Professor at Interactive Telecommunications Program at New York University and a former host of the ARTS conference on the WELL, no longer spends much of his time in online discussion. "It reached a point for me where many online arts forums were too much noise and not enough signal," he observes. "Many of the busiest artists I know and look up to find themselves with not much time for discussion outside the face-to-face, and tend to reserve their writing for more formal environments. In contrast, many of the arts forums I was involved in were filled with people who had too many opinions for the amount and quality of work they were producing, so I tended to drop out. Most of my listening to the ongoing discussion comes from books and magazines and conversations now, it seems."

Igoe, who is working with physical interaction design, (an approach to computer-mediated communication which starts with the human body and what it's expressively capable of, looking for ways to improve the computer's ability to respond to that range of expression) adds that "This is not to say there aren't a lot of worthwhile online forums for arts discussion -- just that I haven't been in many of them lately. More and more of the books I've been reading reference online discussion that led to their ideas." For example, he notes that he just finished Peter Lunenfeld's SNAP TO GRID "and his online participation is all over the book. So I know there is plenty of online discussion to be had."

Unlike the users in isolated areas whom TCG Website Editor Jennifer Sokolov cites as an important constituency, in the New York City area, Tom Igoe has face-to-face access to an active artists community. "More and more, I am finding online forums in general less fruitful than hybrid communities," he notes. For example, he observes that he now participates less on the California-based THE WELL than he does on the New York-based ECHO "because I see more of the Echo people in the flesh on a daily or weekly basis than I do the Well people, and consequently, I feel closer to them." He add that he really craves "full bandwidth" conversation at regular intervals in a friendship. "It leads to less misunderstanding online -- I can attach a person's voice to her words if I see her regularly."

Indeed, on the WELL, where the ARTS conference is still thriving, many of the core participants live in the area and meet in the flesh, as well as participating online. The WELL, which is membership-based, hosts several arts related conferences including Arts, Photography, Poetry, Screenwriting, Theater, Video and Filmmaking, and Writers. Long running WELL conferences tend to be places where artists have developed and sustained community and continue to gather online for friendly conversation and community -- while at the same time the conferences are frequented by artists from around the country.

Similarly, in Washington state, ART SPOT -- a Puget Sound- based discussion board conceived and hosted by Photographer Carl Lew -- both promotes local community and culture and attracts an International audience to its arts discussions, bringing a wider world to Puget sound and Puget sound art to a wider world.

Long running discussions include a "What is the Future of Painting" Discussion, begun August 3, 1996 by Ana Melo, Setzbal, (Portugal) who asked about new exploration areas for painters. A recent post (from Renee, Melbourne, Australia) notes that just as no two lives are the same even though they may have similarities, no two paintings are the same since each artist adds something of his or her individual ideas and imagination.

Other topics on Art Spot include "The Arts Industry" and "The Role of Art and Artists in Contemporary Society."

Poets & Writers' (P&W) Speakeasy, a publicly accessible message board for writers, was created in response to P&W's mission to "foster the professional development of poets and writers, to promote communication throughout the U.S. literary community, and to help create an environment in which literature can be appreciated by the widest possible public."

The Speakeasy is a component of an integrated website -- POETS & WRITERS ONLINE -- which includes classifieds; the DIRECTORY OF AMERICAN POETS & FICTION WRITERS; grants & awards; literary links; News from the Writing World; information about POETS & WRITERS MAGAZINE; and many other resources.

With 276 total postings, the long running topic -- "Can Fiction Writing Be Taught?" was started by P&W editorial assistant Caitlin O'Neil on in October 1996. Her introduction includes a quote from Alexander Neubauer in the March/April 1996 issue of POETS & WRITERS: ". . . The workshop may be the most typical place for writers to learn, yet is it the best place to acquire an art, a craft? Are today's fiction writers merely competent and lacking in vision, with consequences not only for their own writing but for American letters as well?" And the topic asks: "How important do you think writing classes are to a writer's development? How have you benefited from writing classes?"

Not only has the question elicited heated discussion -- with participation from established writers, writing teachers and writing students -- but also the responses are a source of useful first hand information about available writing workshops and classes. Several participants expressed appreciation of the opportunity to discuss the topic, and a "thread" of responses on the importance of reading fellow contemporary writers also generated a lot of interest.

Among other topics on the Speakeasy are: "Your_Writing: New and original writing posted by Speakeasy participants" and "Where_You_Live: Leave messages about literary activity in your area."

Begun initially in 1996 as a vehicle for dance enthusiasts to voice their opinions and thoughts about dance, Voice of Dance has blossomed into a comprehensive resource. Like the P&W site, it offers conferencing as part of an integrated web site, which also provides calendar listings for dance companies around the world; review excerpts of dance performances; dance news; and one-on-one chats with dance celebrities.

A long running topic, "Public Reviews", begins: "What did you think? Your chance to be a dance critic!" With 230 responses, the topic serves a much needed function of broadening coverage and increasing audiences for dance -- allowing the entry of new voices in criticism as well as providing an alternative way of preserving performance documentation.

Recent posts include reviews of two San Francisco performances -- SaltmarshDANCE + CaliforniaContemporaryDancers at ODC Theatre (reviewed by Toba Singer) and SUMMERFEST/DANCE 2001 at Cowell Theater. (reviewed by Joanna Harris)

Among other topics on Voice of Dance are "Ask Charles - Ask your dance education questions here and get a professional response"; "Clothes and Costumes - What are the best shoes, tights, and dance wear on the market?" and "Upcoming Events - Post your event here."

"Folks - The forum is down. Some of the posters were getting a little rowdy and we were getting complaints," begins a message on writers.com. The announcement also cites the time needed to moderate message boards. However, it promises to return as soon as possible and to find a moderator with whom all participants are comfortable.

Indeed -- in addition to the difficulties in negotiating various versions of conferencing software; the lure of commercial information delivery systems; and, for artists, the need to spend time both online and off on their own work -- key factors in the dwindling number of virtual communities for artists are the difficulties of moderating open discussions in situations where participants may come from all aspects and levels of a discipline; the need to continually come up with engaging, knowledgeable discussion topics; the need to spend (often uncompensated) time encouraging conference visitors to "talk"; as well as the damage which one "bozo" can do in fragile conversation situations.

However, in the increasingly accessible online environment, the ability of a few discordant voices to torpedo discussion and community is often offset by the energy and dedication which a few individuals can bring to this open medium.

For instance, on NEW YORK CITY'S DANCE MESSAGE BOARD, host Joseph Botta works hard to help dancers make professional connections which they might otherwise miss. The Board features ballet, jazz, modern, tap and other N.Y.C. dance related information, including topics on New York spaces, studios and classes; and on jobs, auditions, and events listings.

"The New York City Dance Message Board is a living publication. It has thousands of users and more are using it each day," he says. "I will always continue to add free services to it, in my continuing efforts to assist the hard working dancers of New York City. The enthusiastic participation that I see on it tells me that my efforts are recognized and highly appreciated."

Colorado Hyperfiction writer Deena Larson, who has been hosting biweekly discussions for The Electronic Literature Organization (ELO) since they began in January 2000, relates surviving a thunderstorm that knocked out all power and a blizzard that knocked out her local ISP. "My neighbors think I'm insane when I barge into their apartments at 1:50 PM (The chat is at 2:00 PM) yelling 'Is your Internet off too?' I have had a speeding ticket getting to Kinkos for an internet connection when my computer has crashed at 1:55."

Larson describes the biweekly online e-lit chats -- now held in collaboration with the trAce Online Writing Community -- as "an open Algonquin Round Table in the Internet." They cover a range of topics with a variety of guests and topics. Forums on teaching electronic literature have led to creating new syllabi and are helping new teachers of new media, she notes. Additionally, "the chat archives provide a sort of ship's log as we chart our progress through these new media waters."

Deena Larson thinks that the many-to-many nature of the net has just begun to be explored. And she adds that "The fun part is that the chat is only really an hour or so, so problems have to be solved immediately. We have a great group of guests and regulars and attendees, so we roll and laugh with the punches."

In addition to integrated web sites which include online conferencing as a component, such as the comprehensive BLACK WRITERS ALLIANCE web site which includes a message board, hybrid applications -- such as those which combine Listserv delivered content and discussion with website documentation -- are also attracting audiences to interactive content.

Forinstance, AZTLANNET, an arts, cultural and educational information bureau/salon focusing on Latino Arts & Letters of North America, combines an email list component (Yahoo!Group) as well as a website with community news and events, commentary and discussions.

One-time, issue centered web conferencing events -- such as those facilitated by Web Lab -- are another promising approach. Web Lab was created on the premise that in addition to being an efficient place to find and access information, the Internet "is also an extremely powerful communications medium that provides unprecedented opportunities for people with diverse backgrounds and experiences to connect with, and learn from, each other."

Web Lab recently initiated Crossover, "a strategy to create compelling 'new media' projects that combine the sensibilities and storytelling skills of independent filmmakers with the kind of rich interactivity that enlists the audience as active participants rather than passive consumers." The project will bring independent film and videomakers, their counterparts in new media, and select artists from other disciplines together in a series of intensive retreats, labs and production teams, "to create projects that re-imagine the Internet and re-invent interactivity -- and that attract and engage an enthusiastic public."

In the future, online conferencing may also be enhanced by the availability of multimedia conferencing systems, such as Jupiter, a multi-user, multi-media virtual world intended to facilitate remote collaboration. Developed at Xerox PARC by Pavel Curtis and Dave Nichols, Jupiter supports shared documents, shared tools, and, optionally, audio and video communication.

If issues - such as ease of use and balancing freedom of expression with keeping discordant voices from drowning out other voices -- can be creatively addressed, online conferencing, (both through community of interest membership systems and though open public forums) still has the potential to be an important component in the preservation of an Internet which is more than a just one way commercially-dominated information delivery system.

"I would like to find a couple of interesting, medium-traffic online forums to participate in -- the number of lists I am on for various subjects overwhelms me, so I tend to avoid the high-traffic areas -- but haven't found any lately. I am open to suggestion, though!" Tom Igoe comments.

Sources/resources:

TOM BICKLEY -- http://www.metatronpress.com/tbickley

THEATRE COMMUNICATIONS GROUP (TCG) -- http://www.tcg.org

VOICE OF DANCE -- http://www.voiceofdance.com

POETS & WRITERS -- http://www.pw.org

TOM IGOE -- http://itp.nyu.edu/tigoe

ECHO -- http://www.echo.net
Based in NYC, Echo features conferences on ART, DIGITAL ARTS, INSIDE NEW MEDIA, MUSIC, PERFORMANCE, and WRITING

THE THING -- http://bbs.thing.net/communicator.thing

GOOGLE GROUPS USENET ARCHIVE -- http://groups.google.com
"What is Usenet?" -- http://www.faqs.org/usenet

CAFE AL FRESCO -- http://www.truefresco.com/cgidir/dcforum/dcboard.cgi

DANCE ONLINE - DANCE TALK -- http://www.danceonline.com/talk/

trAce/ELO E-LIT CHATS -- http://www.eliterature.org/com/LinguaMOO.shtml

TRACE ONLINE WRITING CENTRE - http://trace.ntu.ac.uk/

THE WELL -- http://www.well.com
"Welcome to ARTS! Like the notes and bulletins tacked to doors in art departments and studios everywhere, the Arts conference indicates and informs what goes on within the Well's creative community and points to art in the outside world...." the introductory screen begins.

ART SPOT -- http://www.lewimaging.com/artspot/index.html

VSA ARTS LIST OF ONLINE DISCUSSION GROUPS, NEWSGROUPS, MAILING LISTS AND LISTSERVS -- http://www.vsarts.org/gallery/artresources/newsgroups.html

"The Arts Wire Conferencing System - 1992-2000"
Arts Wire CURRENT -- http://www.artswire.org/current/2001/cur081401.html#around
August 14, 2001

WRITERS.COM - http://www.writers.com/newforum.htm

NEW YORK CITY'S DANCE MESSAGE BOARD -- http://disc.server.com/Indices/23795.html

NOT STILL ART STREAMING MEDIA ART FORUM -- http://www.improvart.com/nsa/

GENID/NEME -- http://www.judymalloy.net/identity/panel.html

BLACK WRITERS ALLIANCE -- http://www.blackwriters.org/community/index.html

AZTLANNET -- http://www.aztlannet.com/aztlannet.html

WEB LAB -- http://www.weblab.org

JUPITER -- http://www.xrce.xerox.com/showroom/techno/jupiter.htm

The decision is an "important victory not just for the Center and the School, but for the legacy of Martha Graham and the dance world in general," pointed out Dale M. Cendali of O'Melveny & Myers, LLP, which led trial counsel for the Martha Graham Center and Martha Graham School.

"Graham dance is of the earth, but right now we are dancing on air! Like being inside a suffocating cloud, suddenly to be breathing pure oxygen!" said Stuart Hodes, Head of School, the Martha Graham School of Contemporary Dance. "Dancers take class because that's what dancers do, but now that we can speak our name -- Martha Graham dancers! -- once more, we want to dance for audiences, for the world."

In January, Ron Protas, to whom Martha Graham willed her works and licenses, had filed suit against the Martha Graham Center of Contemporary Dance. The suit sought to enjoin the Graham Center from using the names "Martha Graham" or "Martha Graham Technique".

In her opinion, Judge Cedarbaum found that Protas "misled" the United States trademark office. In order to obtain trademarks, he represented that the Graham Center and Graham School only used Martha Graham's name by virtue of an oral license from Graham which as her heir, he had the right to revoke. The Court found "no credible evidence" that such a license ever existed. Instead, the Court found that Martha Graham had permanently assigned rights to her name to the organizations when they were incorporated at her behest in 1948 and 1956 respectively as not-for-profit corporations.

In so holding, Judge Cedarbaum expressly "found Protas not to be a credible witness." She also found that Protas breached his fiduciary duty as a member of the Board of both the Graham Center and Graham School and as one of its major employees, by registering in his own name trademarks adverse to the interests of organizations to which he owed a duty of loyalty.

Martha Graham intended that the Center and School continue after her death and that Protas' actions were "undermining" Martha Graham's arrangements, the decision emphasized.

The Court is expected to decide other aspects of the case in the year ahead, including whether Protas has the exclusive rights Graham's dances and whether he owes the Center and School financial compensation for his conduct.

"The court victory lets us call ourselves by our rightful name, earned in more than half a century of work with Martha Graham herself," Stuart Hodes emphasized to Arts Wire. "But it does not deal with Graham's choreography. So for now we will dance works by those who spring from the same soil, dances by Jane Dudley, Jean Erdman, Robert Cohan, Nina Fonaroff, May O'Donnell, Pearl Lang, Sophie Maslow, and Bertram Ross, to name a few whose works we will seek. And of course there will be new voices."

Hodes added that "Our educational troupe, the Martha Graham Ensemble, will perform in Cape May, New Jersey on October 18th, dances by Linda Hodes, Virginie Mecene and Kenneth Topping, among others, to continue thus until the day when the Martha Graham Company can once more dance Martha Graham's dances, and a cu "The Martha Graham School and Dance Foundation, Inc. and Ronald a. Protas, individually and as trustee of the Martha Graham Trust vs Martha Graham Center of Contemporary Dance, inc., Martha Graham School of Contemporary Cance, inc. -- http://www.nysd.uscourts.gov/courtweb/pdf/D02NYSC/01-08492.PDF

STUART HODES, Head of School, the Martha Graham School of Contemporary Dance, danced with Martha from 1947 through 1959, taught on and off in the School for the next 35-plus years. He was Martha's partner in dances like APPALACHIAN SPRING, DEATHS AND ENTRANCES, ERRAND INTO THE MAZE, and others. He also formed a young audience company, The Ballet team, which performed widely in the 60's and headed dance at NYU School of the Arts (now Tisch) from 1972-84. He presently performs with his wife, Elizabeth, in cabaret-style shows -- "also with anyone foolish enough to ask me." He will be performing at OK Harris gallery during DANCENOWFEST 2OO1.

"Protas v. Martha Graham Center for Contemporary Dance"
Arts Wire CURRENT-- http://www.artswire.org/current/2001/cur052901.html
May 29, 2001

DANCENOWFEST 2001

"a shower of rose petals falls from the sky
an astronaut poses for pictures
a billowing white cloth is both a sail and a shroud
a woman dances a private paean to loss
as home movies of children flicker, flicker, flicker
in the background
welcome to the dancenow downtown festival" -- THE DANCE INSIDER

On September 6, DANCENOWFEST 2OO1 will kick off the fall dance season, marking -- in venues from SoHo to midtown to Brooklyn - the seventh year that Colloquium Contemporary Dance Exchange has produced its annual fall dance festival/extravaganza.

"Each fall season, we unveil a new and untold story. Placing fresh and familiar faces in unprecedented combinations and unusual spaces, we bring you a relentless flurry of raw and masterful talent. Explore the downtown dance scene as we move through soho to midtown, brooklyn and beyond to celebrate our 7th annual fall dance extravaganza. amazing," the Festival -- which will offer a sampling of more than 145 dance artists, "reaching far and wide to embrace a full range of essential, contemporary dance" -- states.

Formerly known as dancenow downtown, the event is expanding on its downtown base to include performances in the spacious John Jay College Theater in midtown, as well as in the new and more intimate Williamsburg Art Nexus (WAX) in Brooklyn. The festival is also expanding its programming at its home base camp at Joyce Soho, the OK Harris Gallery on West Broadway, and poolside at the Carmine Center. Highlights include:

JOYCE SOHO
155 Mercer Street (between Houston and Prince)
Opening Event on Thursday, September 6 presents "two electrifying programs with performances by Johannes Wieland; Alexander Gish; Zvi Gotheiner & Dancers; Sara Hook Dances; Paul Matteson; Nicole Berger; Clare Byrne Dance; Faye Driscoll, among others."

Plus performances on September 7, 8, 12, 13, 14
including Tiffany Mills Company; Jennifer Chin; Sally Schuiling/Dance Landscape; Jordan Fuchs; Amanda Loulaki; Rachel Cohen; Dagmar Spain/Dance Imprints; Jeanette Stoner & Dancers; Le Minh Tam; Regina Nejman; Toshiko Oiwa; Jimena Paz; and many, many more.

JOHN JAY COLLEGE THEATER
899 Tenth Avenue (between 58th and 59th Streets) Brooklyn MAIN.RAGE, a new mid-town series, on Sunday, September 9, features more than 32 dance makers including David Dorfman Dance; Gina Gibney Dance; Creach/Company; Doug Elkins Dance Company; Keely Garfield's Sinister Slapstick; David Neuman; Mark Haim, among others in one "explosive event."

WILLIAMSBURG ART NEXUS (WAX)
205 North Seventh Street, Williamsburg
4ODOWN, a new series on September 10 showcases 21 up-and-coming "artists to watch" including, among others, Karl Anderson/Slamfest; BiTrip; Veronica Dittman/Faith Pilger; Christopher Elam; Justin Jones; Erik Kaiel; Karinne Keithley; Tessa Nebrida/Kelly Bartnik.

OK HARRIS GALLERY
383 West Broadway (between Spring and Broome Streets)
"forty is the new 30. instead of a decade to fade 40up has become a time of endless possibility" - MIRABELLA MAGAZINE
4OUP, a new gallery series on Tuesday, September 11 "plays host to an exciting roster of vital dance artists who continue to the push the envelope into their fourth decade and beyond," including Pat Catterson, Young Soon Kim, Barbara Mahler, Jessica Nicoll & Barry Oreck, Amos Pinhasi, Paulette Sears, Stuart Hodes & Alice Teirstein/Zvi Gotheiner, Amy Sue Rosen, Gus Solomons, jr./Paradigm, Muna Tseng, Debra Wanner, Wally Wolfgruber.

CARMINE OUTDOOR POOL CARMINE CENTER
7th Avenue and Clarkson Street
New Festival Finale concludes dancenowfest 2OO1 on Saturday, September 15, poolside at the Carmine Recreation Center with FINAL SPLASH, featuring Clare Byrne, Kara Tatelbaum, Paul Matteson, Tom O'Conner, Karinne Keithley, Oren Bar-Noy, Barbara Bryan among others

dancenowfest 2OO1 is produced by Colloquium Contemporary Dance Exchange. Founding Directors, Tamara Greenfield and Robin Staff; New Managing Directors, Kara Tatelbaum and Netta Yerushalmy

Admission to all festival events is on a first-come, first-served basis. No reservations. Ticket lines form 30 minutes prior to each show. Tickets to all performances are $12, unless otherwise indicated. This year, all ticket buyers receive a free dancecard which provides discounted admission to additional festival performances and related activities such as classes and services at Power Pilates Studio and other venues as well as free admission to the final festival party in the outdoor pool at Carmine on Sept 15th - "lots of dancing, food, music and freebies and time to mingle with the festival artists. "

For more information, check out dancenowfest's website at http://www.dancenow.org tel: 718-850-2488.

dancenowfest 2001 is supported, in part by public funds from the NYC Department of Cultural Affairs, The Katherine Dalglish Foundation and Philip Morris Companies, Inc. dancenowfest 2001 is sponsored by the NYC Department of Parks and Recreation at Carmine, OK Harris Gallery, Power Pilates and with the gracious assistance of The Joyce Theater.

DANCE FOR THE CAMERA FESTIVAL AND WORKSHOP

The DANCE FOR THE CAMERA FESTIVAL AND WORKSHOP presents several evenings of International works in film and video. As a part of the event, The University of Utah's Departments of Modern Dance and Film are sponsoring the first American presentation of DANCE SCREEN ON TOUR.

On September 28, the Festival will present Award-winning works from the 2000 International Music Center's (Internationales Musikzentrum) international dance film competition, DANCE SCREEN -- including (among others) CAPTIVES 2ND MOVEMENT, a completely virtual dance, directed and choreographed by French artists Nicole & Norbert Corsino, and, from the UK, MOMENT, directed by Katrina McPherson, choreographed by Paula Hampson, and dedicated to the memory of dancer and filmmaker Michele Fox.

On September 29, The second evening will include (among others) 2I ETUDES A DANSER, which directed by Belgium's Thierry De Mey, merges dancing footage with elements of fiction to create a new way of telling a story, and, from Seattle's dance theater company 33 Fainting Spells, MEASURE, a 7-minute experimental work directed by Gaelen Hansen and Dayna Hansen.

The weekend will conclude with a final evening of juried student works submitted by students from around the world.

The Festival Workshop -- a two-day intensive offering an opportunity for hands-on experience and critical dialog for film makers, videographers, choreographers, dancers, visual and performance artists -- will be taught by:

Guest Video Artist DOUGLAS ROSENBERG, Assistant Professor in the Interarts and Technology Program at the University of Wisconsin and the Director of the Video Archival Program at the American Dance Festival for ten years.

ROGER COPELAND, Professor of Theater and Dance at Oberlin College. He has published well over one hundred and fifty articles about dance, theater, and film. Copeland has also worked as a consultant for the National Endowment for the Arts, the DANCE IN AMERICA series on PBS, the Brooklyn Academy of Music's NEXT WAVE Festival, and the eight part television series DANCING.

Festival Director ELLEN BROMBERG, Assistant Professor of Modern Dance at the University of Utah, has been creating dances for companies and solo artists for over 25 years. She has received numerous awards and grants for her work from the National Endowment for the Arts, the Arizona Commission on the Arts and many others. She has created a number of works for the screen which have been broadcast by KQED TV in San Francisco, Wisconsin Public Television, and nationally on PBS Television's ALIVE FROM OFF CENTER.

Screenings - $5.50 each night
2-Day Workshop - $150.00 (Screenings included)
For details, contact Ellen Bromberg, Festival Director or Eric Handman, Assistant to the Director tel: 801-587-9807 or 801- 581-7327 fax 801-581-5442 website: http://www.dance.utah.edu

ELIZA MILLER DANCE COMPANY: MAERCHEN

Eliza Miller Dance Company (EMDC) presents MAERCHEN, an evening of three new dance works choreographed by Eliza Miller, set to music by contemporary composers Alan Bern and Gyrgy Ligeti.

Bern and fellow accordionist Guy Klucevsek will play Bern's original score for Maerchen, the title dance of the evening. Boston-based pianist Yukiko Takagi will perform Ligeti's First Book of Piano Etudes, to which Miller's dance Self Organized is set.

Dancing with Miller will be company members Rachel Berks, Emily Harney, Anne Lentz, Rashaun Mitchell, Sinad Sant, and Christopher Williams, as well as guest performer Andrew Butler. Lighting design is by Farley Whitfield; costumes are by Eric Hall.

Tickets $15/$10 students/dancers (cash or check are accepted at the door) Reservations call 212-674-8194

EMDC will also be performing a sneak preview at the Lexington Center for the Arts (Catskills area), as part of LEX/DANCE UNDER THE RADAR, a new residency program for emerging New York City choreographers, sponsored by NYC's Ensemble Studio Theater. Also on the program will be works by fellow choreographers Miguel Gutierrez and Dagmar Spain. Admission by donation For information/directions, call 518-989-6043 or 212-247-4982.

Eliza Miller graduated from Sarah Lawrence College in 1998, where she studied dance and choreography with Viola Farber. After a year in Berlin, Germany, she returned to New York City to found the Eliza Miller Dance Company in 2000. Her choreography has been presented at Danspace DraftWorks at St. Mark's Church; the Mulberry Street Theater Newsteps series; the 92nd Street Y Fridays at Noon; the Kennedy Center for the Arts in Washington, D.C. In July 2001, Miller was one of four emerging choreographers invited to take part in a new lab at Jacob's Pillow Dance Festival which paired the choreographers with compositional fellows at the Tanglewood Music Center. For more information about the company, visit http://www.elizamillerdance.org

LUNA NEGRA DANCE THEATER

"el panorama dancistico de Chicago se ha visto enriquecido con la presencia de una nueva compaia: Luna Negra" - Sonia Vazques, LA RAZA

Celebrating Hispanic Heritage month, Luna Negra's first Fall concert event will include:

Choreographer: Eduardo Vilaro
PREMIERE! A DANCE EXPLORING LATIN MACHISMO.

Choreographer: Nancy Turano
CARMEN - a Surreal version of Carmen

Plus Eduardo Vilaro's BREATH IN MEMORY, an ensemble work that evokes his memories of assimilation and alienation after fleeing Cuba as a child; "a journey through the senses and how they affect memory and help create identity" with sound collage by Cecil Averritt, a lullaby sung by Bola de Nieve and flamenco music by Jos Maria Gallardo del Rey

and Vilaro's LATE...AFTER SIESTA; as well as his GUACHI GUARI, an athletic and rhythmic dance which challenges the stereotype of salsa dancing.

Founded by artistic director Eduardo Vilaro in 1999, Chicago-based Luna Negra is devoted to the creation and presentation of contemporary dance work of Latino origin.

Vilaro immigrated to the United States with his family from his native Havana, Cuba when he was six years old. He grew up in New York City. At age 17 he was accepted on scholarship at the Alvin Ailey American Dance school and also studied at the Martha Graham School. He received his BFA in dance from Adelphi University and went right from the university to Ballet Hispanico of New York where he was a principle dancer for nine years. Since relocating to Chicago in 1996, he has pushed his choreographic talent, premiering works at Chicago's NEXT Dance Festival, Dance Chicago and the Chicago Cultural Center. The company has participated in many of the major dance festivals in Chicago including Dance Chicago, Ruth Page Dance Series, Duets for My Valentine, Baliwick's Director's festival as well as Dances for a New World, which Eduardo organized.

The idea for Luna Negra Dance Theater comes from his vision to create a springboard for Latino artists wanting to work in a more contemporary context. His mission is to educate and foster a greater understanding of the rich diversity within Latino cultures through dance. Luna Negra is also devoted to community and educational activities that bring the joys of contemporary Latino dance to all populations.

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

Deadline: Ongoing - THE EXPLORATORIUM in San Francisco offers a place for artists, scientists, educators, and developers to reach out, experiment, and explore the natural world in new ways. The Exploratorium has developed an Artist in Residency program that offers artists the opportunity for research and development that may result in temporal works such as performances, films, and presentations, as well as artworks and installations that may become part of the museum's regular collection. Artists may choose from brief experimental residencies lasting one to two weeks or more formal residencies of one to six months. A small stipend, round-trip travel, and living expenses are provided for both residency opportunities. For more information, contact: The Exploratorium, 3601 Lyon Street, San Francisco, CA 94123; phone (415) 561-0309; or visit http://www.exploratorium.edu

Deadline: Ongoing - THE SCHUYLKILL CENTER FOR ENVIRONMENTAL EDUCATION is a 460-acre nature preserve near the city of Philadelphia. The Center is seeking the work of professional artists for exhibition and artist-in-residence opportunities. Artists whose work is nature-related either through materials, subject, or concept and who are interested in exploring the interaction of art and the natural environment may apply. For more information, send a SASE to: Art Programs, The Schuylkill Center, 8480 Hagy's Mill Rd., Philadelphia, PA 19128; phone (215) 482-7300; or visit http://www.schuylkillcenter.org

Deadline: Ongoing - The THANKS BE TO GRANDMOTHER WINIFRED FOUNDATION encourages women 54 years of age and over to develop and implement projects, programs, or policies that empower and enrich one or more aspects of the cultural, economic, educational, ethnic, mental, physical, professional, racial, sexual, social, and spiritual well-being of women. Funding is available for future projects initiated by U.S. citizens. Applicants do not have to be living or completing their work in the U.S. For more information, send an SASE to: The Thanks Be To Grandmother Winifred Foundation, P.O. Box 1449, Wainscott, NY 11975.

NEW YORK CITY, NY -- Overseen by the Lower Manhattan Cultural Council -- - their flagship giving program, on behalf of the New York State Council on the Arts Decentralization Program for Manhattan -- The Fund for Creative Communities is meant to augment resources of primarily small to mid-sized nonprofit community-based organizations providing high quality local arts programs. The Fund also seeks to increase access to arts and cultural activities in neighborhoods and under-served communities, and to stimulate new arts activities in communities where the need exists.

Manhattan-based nonprofits and individual artists (applying with fiscal conduits) may submit proposals for ongoing or new projects of any duration and disciplinary category that will enhance life in our communities. All nonprofits organizations based in Manhattan are eligible Churches, Senior Centers, Arts Organizations, Social Service Agencies, Grass Roots Organizations, Educational Centers, Cultural Centers. Individual artists are welcome to apply through a fiscal conduit. The Fund has approximately $250,000 available for regranting each year. Organizations and fiscal conduits applying directly to NYSCA are not eligible for this grant. The maximum grant request is $5,000. The next deadline is Monday, September 24, 2001.

APPLICATION WORKSHOPS
To learn how to apply for a grant for projects in Crafts, Dance, Design Arts, Folk Arts, Humanities, Literature, Media (film/video), Multi-Discipline, Music, Opera/Musical Theater, Photography, Theater, or Visual Arts, the following workshops are available. TO REGISTER, call 212-432-0900, ext. 333

SEPTEMBER 5 - 5:00 PM
Puerto Rican Workshop/Taller Boricua @ the Julia de Burgos Center
1680 Lexington Avenue, New York, NY 10029, 212-831-4333

SEPTEMBER 6 - 6:00 PM
Dominican's Women Development Center (bilingual in Spanish)
359 Ft. Washington Ave., Suite 2D, New York, NY 10033 212-749-1929

SEPTEMBER 10 - 5:00 PM
Danspace Project, St. Mark's Church-in-the-Bowery
131 East 10th Street, New York, NY 10003 212-674-8112

SEPTEMBER 11 - 4:00 PM
Lower Manhattan Cultural Council
Five World Trade Center, Suite 9235, New York, NY 10048, 212-432-0900
* MANDATORY SESSION FOR FIRST TIME APPLICANTS*
Please bring government-issued photo ID and arrive at 345 PM for admittance.

SEPTEMBER 12 - 5:00 PM
Trinity Church - Conference Room
74 Trinity Place, New York, NY 10006, 212-602-0800 Special thanks to workshop partner Graphic Artists Guild

SEPTEMBER 13, 5:00 PM
Korean American Association of Greater New York, Inc. (bilingual)
149 West 24th Street, 6th Floor, New York, NY 10011, 212-255-6969

If sign language interpreters or Large Print applications are required, please call us in advance. Many sites are ADA accessible.

For 2001 Fund for Creative Communities guidelines and application form, visit http://www.lmcc.net or call 212-432-0900

The Richard H. Driehaus Foundation has announced the continuation of its funding program for small Chicago theater and dance companies, and -- with the support of John D. and Catherine T. MacArthur Foundation -- has increased the level of our support.

"While The Richard H. Driehaus Foundation and the John D. and Catherine T. MacArthur Foundation realize that there are important needs for dance and theater companies of all sizes and programs, these grants specifically address the needs of small dance and theater companies," they state. "Our goal is to encourage a continuation of Chicago's richness in the performance of dance and theater. To that end, we encourage proposals from companies that emphasize presentation instead of education or community outreach.

Use of grants in this program are unrestricted. Grants will range from $2,500 to $10,000 and will be made to dance and theater companies that reside in the Chicago metropolitan area, have produced at least one show in the Chicago area, and have annual operating budgets of less than $100,000.

The next application deadline is September 10, 2001. For details, visit http://www.macfound.org/announce/driehaus.htm

Opportunities for Artists

Dance/USA, the national service organization for non-profit professional dance, and the National Endowment for the Arts (NEA) have announced 51 awards totaling $510,000 through the National College Choreography Initiative, a new program that unites professional dance artists with college dance students. Each $10,000 award will enable an institution of higher learning in all 50 states and the District of Columbia to host notable dance artists -- in residencies and in resulting on campus performances of new or restaged classic American dance works.

A significant component of the program is the sharing of work with the larger community beyond the performance of the dance piece. Projected outreach activities include post-performance discussions, classes or open rehearsals. In other projects, community members participate in the performance itself. Funded projects include:

At BENNINGTON COLLEGE (Bennington, VT) Ann Carlson will create a new dance piece to include Bennington College student dancers, local politicians and political activists. The work will premiere at Bennington College and in performances at Williams College, Middlebury College and in New York City. Projected outreach activities include workshops, showings, and a panel discussion on issues related to the artist as a citizen/activist.

At SARAH LAWRENCE COLLEGE, (Bronxville, NY) John Jasperse will create a new work, CLEAR FIELD, for two casts of five or six Sarah Lawrence College Dance Department students. Projected outreach activities include open rehearsals, panel discussions and performances.

At HOWARD UNIVERSITY (Washington, DC) Ronald K. Brown will create a new work on the Howard University dance majors and the general student population. Projected outreach activities include Brown's teaching master classes to adolescents ages 11-18 and his participation in a symposium open to college students and faculty in the DC metropolitan area.

At COLUMBIA COLLEGE (Chicago, IL) David Gordon will set a new work for Columbia College student dancers. Projected outreach activities include a performance of the work for high school and junior high school students; a workshop for Chicago-based dance and theater artists in partnership with Links Hall, a faculty development workshop; and a workshop for students and faculty in Columbia College's graduate-level interdisciplinary arts program.

At UNIVERSITY OF CENTRAL OKLAHOMA (Edmond, OK) choreographer Loretta Livingston, will create a new work for a University of Central Oklahoma Dance Program. Projected outreach activities include a master class for young dancers ages 13 and older, informal showings at several at-risk area elementary schools, and lecture/demonstrations for the community.

At UNIVERSITY OF IDAHO, (Moscow, ID) choreographer Bill Evans will create a site-specific work for the university dancers and local nontrained dancers. Projected outreach activities include a videoconference link to make possible a satellite, community-based dance project in select Idaho towns for children in intermediate grades.

"The National College Choreography Initiative provides new opportunities to foster the vital connection between distinguished artists and students who will become the future leaders of the dance field," Dance/USA's Executive Director Andrea Snyder said. "Through this initiative, professional artists are able to share their contributions to the American canon of choreography and their styles of creating new works, thereby guiding the next generation of dance artists in their pre-professional development."

Private foundation support is provided by The John S. and James L. Knight Foundation and Target Foundation. "This national program will not only foster better relations between the academic and professional dance worlds in this country, but increase the public's knowledge of American dance through educational programming and first-rate performances of work by celebrated choreographers both past and present," remarked Gary Burger, Director of Arts and Culture Programs for the Knight Foundation.

Source:

"Dance/USA and the National Endowment for the Arts Announce National Dance Initiative"
http://www.arts.gov/endownews/news01/dance_college.html
A complete listing of awards is available at
http://www.arts.gov/endownews/news01/dance_college2.html Or contact Suzanne Callahan at scallahan@danceusa.org or 202-955-8325.

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

Deadlines: September 18, 2001, January 8 and April 23, 2002, individual performing artists to pursue opportunities abroad, ARTS INTERNATIONAL ARTISTS' EXPLORATION FUND

Deadline: October 1, 2001 - extended, New Jersey artists, WOMEN'S STUDIO WORKSHOP - GERALDINE R. DODGE RESIDENCY GRANTS

Deadline: October 5, 2001, New England artists, NEW HAMPSHIRE CHAPTER OF THE WOMEN'S CAUCUS FOR ART JURIED EXHIBITION, ACTION/REACTION -- ART GALLERY AT THE UNIVERSITY OF NEW HAMPSHIRE, DURHAM

Deadline: October 12, 2001, Photographers, CHOCOLATE HOLIDAYS EXHIBITION, DULCE GALLERY, EDEN CHOCOLATES, NYC

Deadline: December 15, 2001, Sculpture Artists for Residency Program, SCULPTURE SPACE, UTICA, NY

Deadline: Ongoing, artists interested in working on public art projects, THE ARTIST REGISTRY AT URBANARTS INSTITUTE

CURRENT JOB LISTINGS 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, Urban Institute for Contemporary Arts, (Grand Rapids, MI)

EXECUTIVE DIRECTOR, The Arts and Business Partnership of Southern New Jersey, (Haddonfield, NJ)

TENURE-ELIGIBLE POSITION IN VIDEO PRODUCTION, Roy H. Park School of Communications, Ithaca College, (Ithaca, NY)

MUSEUM DIRECTOR, Museum of Contemporary Art, (Taipei, Taiwan)

GALLERY MANAGER, (Philadelphia, PA)

GALLERY & MUSEUM ADMINISTRATOR, School of VISUAL ARTS, (New York City, NY)

ASSISTANT TO THE ARTISTIC ADMINISTRATOR, San Francisco Opera, (San Francisco, CA)

ARTIST SERVICES AND COMMUNITY COORDINATOR, Pittsburgh Filmmakers, (Pittsburgh, PA)

ADMINISTRATIVE DIRECTOR, Chinese Theatre Works, (Jackson Heights, NY)

HEAD LIBRARIAN, The Albright-Knox Art Gallery, (Buffalo, NY)

HOUSE OPERATIONS MANAGER, Weidner Center, (Green Bay, WI)

ASSISTANT PRODUCTION MANAGER, Weidner Center for the Performing Arts, (Green Bay, WI)

ASSISTANT THEATRE MANAGER, Film Forum, (New York, NY)

PROGRAM SPECIALIST, The Arts Program, The David and Lucile Packard Foundation, (Los Altos, CA)

ART & PUBLIC EDUCATION DIVISION MANAGER, East Bay Center for the Performing Arts, (Richmond, CA)

COORDINATOR OF EDUCATION and OUTREACH, GENERAL MANAGER, American Youth Philharmonic Orchestras, (Annandale , VA)

ARTS MENTORING PROJECT DIRECTOR, Art Start, (New York City, NY)

DANCE TEACHER, South Junior High School Performing Arts House, (New Windsor, NY)

CONTRACT EDUCATORS, PUBLIC PROGRAMS AND EDUCATION DEPARTMENT, (Part-time, temporary) The Morgan Library, (New York City, NY)

COLLECTIONS MANAGER, Rock County Historical Society, (Janesville, WI)

REGISTRAR /GALLERY ASSISTANT, (art dealer) (New York City, NY)

PRODUCTION STAGE MANAGER BALLET, Ballet Tech, (Broadway, NY)

ASSOCIATE DIRECTOR OF PATRON SERVICES, George Street Playhouse, (New Brunswick, NJ)

ARTSMARKETING CAMPAIGN MANAGERS, Artsmarketing Services, Inc., (Toronto, Ontario, )

COMMUNICATIONS ASSOCIATE, The MacDowell Colony, (Peterborough, NH)

COMMUNICATIONS DEPARTMENT ASSISTANT, Westchester Arts Council, (White Plains, NY)

DIRECTOR OF DEVELOPMENT, American Ballet Theatre, (New York City, NY)

DIRECTOR OF DEVELOPMENT, Berkeley Symphony Orchestra, (Berkeley, CA)

DIRECTOR DEVELOPMENT, Film Forum, (New York City, NY)

DEVELOPMENT ASSOCIATE, Paul Taylor Dance Foundation, (New York, NY)

GRANTS MANAGER, National Black Programming Consortium, (New York City, NY)

ASSOCIATE DIRECTOR OF DEVELOPMENT FOR CORPORATE RELATIONS, Washington Performing Arts Society, (Washington, DC)

DEVELOPMENT ASSOCIATE POSITION, (part-time) Elevator Repair Service, (New York City, NY)

DISTRIBUTION BILLING ASSISTANT, Women Make Movies, (New York City, NY)

TEACHER'S AIDE, Impact Community High School, (San Francisco, CA)

STOCK CLERK, Whitney Museum of American Art, (New York City, NY)

APPRENTICE, The New Victory Theater, (New York City, NY)

INTERNS, The Association of Independent Video & Filmmakers (AIVF), (New York City, NY)

INTERNSHIP, Lincoln Center for the Performing Arts, Inc., (New York, NY)

INTERNS, Japan Society Gallery, (New York City, NY)

INTERNSHIPS, CITYarts, (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

"Building upon what we've accomplished, and acknowledging what has been imperfectly achieved, what should we do now?" departing National Endowment for the Arts (NEA) Chairman Bill Ivey asked last month at PARTicipate 2001, the joint conference of the National Assembly of State Arts Agencies and Americans for the Arts Conference.

"I believe we must face the challenge of developing our big 'ask' - our large shared vision for the advancement of art, art making, creativity and living cultural heritage, our goal for advancing the arts in American society," he continued.

Noting that it shouldn't just be about more money for the NEA or for state and local agencies -- although a shared vision may require additional support -- but also should be about the needs of all citizens, he proposed, among other things, that we ask for:

• Every fifth grade student in America be enrolled in a music, dance, drawing, or drama class

• An all nations global arts exchange program moving thousands of artists, performances, and exhibitions to and from the United States

• A month-long "cultural fair" produced in a newly-constructed performance and exhibition space in America's heartland?

• Or, perhaps, summer-long arts festivals in every national park.

• The creation of a comprehensive, coherent, free in-school compilation of digitally packaged films, recordings, interviews, and analysis bringing America's cultural heritage to every school in the nation.

"Let's develop the 'ask', carry its compelling message to every level of government, every segment of society," Ivey stated. "If the ask is strong, inspiring, worthy, funding will follow."

Source:

Remarks by Bill Ivey, Chairman, National Endowment for the Arts National Assembly of State Arts Agencies and Americans for the Arts Conference New York, NY NATIONAL ENDOWMENT FOR THE ARTS (NEA) WEB SITE -- http://www.arts.gov/endownews/news01/nasaaspeech.html
July 30, 2001

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 |