In Delaware, AIDS Delaware has organized a multidenominational service of remembrance. Artists, musicians, art organizations, collectors, and businesses are donating items to be auctioned off throughout the night at the Delaware Art Museum -- honoring the memory of those who have been lost to AIDS; raising funds for AIDS related causes.

In Tucson, Arizona, the Center for Creative Photography at the University of Arizona will exhibit photographs by Brian Weil, whose EVERY SEVENTEEN SECONDS: A GLOBAL PERSPECTIVE ON THE AIDS CRISIS, (text: Simon Watney) documents the terrible devastation of AIDS and the enduring spirit of those who live and die with the disease.

In San Francisco, Artists Against AIDS will present BLACKOUT, THE URBAN-AMERICAN MUSICAL at the YMCA Theater on December 1 and 2.

World AIDS Day 2001 in the United States focuses on youth and HIV/AIDS, with the theme: "I Care...Do You? Youth and AIDS in the 21st Century." While UNAIDS' international theme focuses on the role of men in the HIV/AIDS pandemic with the theme I Care...Do You?, the US World AIDS Day Advisory Committee chose to supplement the international theme to address issues of youth and HIV/AIDS.

36.1 million people worldwide are living with HIV/AIDS. Over 850,000 people in the United States are HIV+. Young people under age 25 represent half of all new HIV infection cases. Ten million people ages 15-24 are living with HIV/AIDS. Every minute, five young people are infected with HIV.

"These numbers are alarming not only because of their magnitude, but also because adequate information about HIV/AIDS has not fully reached youth around the world, including young people in the United States," World AIDS Day emphasizes. "Many young people with HIV today might not have become infected if they had learned more about the dangers of engaging in high-risk behaviors. As of 2000, 25% of teens surveyed in the US falsely believed that HIV testing was standard in routine exams, whereas fewer than one-third of sexually active teens in the US have been tested for HIV."

The goal of World AIDS Day 2001 is to underscore that youth are significantly infected and affected by HIV and to call for greater education and involvement of young people in diagnosing, treating, and preventing HIV/AIDS.

"Though Day With(out) Art has gone through many changes since it's start in 1989, I feel it is still a very important reminder that the AIDS pandemic has not gone away," said Nelson Santos, Assistant Director of Visual AIDS. "There still is no cure and now it is spreading faster than ever among our youth. We can't just look away."

This year, Visual AIDS -- which in 1989 launched Day With(out) Art as a World AIDS Day initiative to "mourn those we have lost and to promote a broader awareness of the crisis" -- partnered with the House of Frame By Frame Fierce on a video to promote HIV/AIDS awareness and prevention among young people.

In a workshop process, a diverse group of 16-21 year-olds -- including gay, bisexual, transgendered, HIV infected and affected, African-American, white and Latino youth -- together explored issues around HIV/AIDS, focusing on the difficulties youth face in protecting themselves. From their fears, ideas, and experiences regarding safer sex, they created artworks.

They conceived, developed, and designed four animated HIV/AIDS awareness announcements directed towards at-risk youth, and these works make up the video FRAME BY FRAME FIERCE. VISUAL AIDS is distributing the video to be shown on December 1, either in a public space or in a program geared towards young people.

This is the 13th year of demonstrating the power of art to raise awareness of the ongoing AIDS pandemic by observing Day (With)out Art. December 1, 2000 also marks the 14th observance of World AIDS Day.

Some art centers observe the day by closing or by turning off the lights. For instance, in St. Louis, Missouri, The Art St. Louis Gallery, a not-for-profit visual arts co-op gallery, is closed Sundays, holidays, and the International Day Without Art.

In Richmond, Indiana, The Leeds Gallery at Earlham College will be dark on December 1, in response to the AIDS crises.

Some art organizations observe the occasion by draping a work in black. For instance In Guelph, Ontario, Canada, on December 1, 2001, the Macdonald Stewart Art Centre recognizes International AIDS Awareness by draping Evan Penny's Mask in black.

Some cultural organizations host a special event or exhibition. For instance. on December 1, 2001, in both New York and Los Angeles, the Museum of Radio and Television will screen programs that address the complex issues raised by the epidemic.

In New York City during the 59th minute of every hour over the course of December 1, 2001, Jeff Gibson's Viralysis: A Beginner's Guide to Infectious Psychology, will run on the Times Square Astrovision. In a series of coined terms and phrases, comprised of neologisms, puns and satirical wordplays that take an incisive look at stigmas and attitudes concerning disease, Gibson's project voices the psychological issues surrounding living with HIV/AIDS and other long-term illnesses. The texts also address the psychological effects of living with uncertainty and imminent threat, an almost universal condition since September 11.

The project is part of THE 59TH MINUTE: VIDEO ART ON THE TIMES SQUARE ASTROVISION, an ongoing series of video artwork by international artists produced by Creative Time and sponsored by Panasonic.

On the World Wide Web, LINK AND THINK is an observance of World AIDS Day in the personal web publishing communities. Formerly "A Day With(out) Weblogs", the project involves hundreds of webloggers, journalers, diarists and other personal website publishers, each linking to resources about HIV/AIDS or publishing personal stories about how the AIDS pandemic has affected them.

A project of Brad Graham's The Bradlands, Link and Think (formerly A Day With(out) Weblogs) urges everyone who produces personal content on the web to link to resources about HIV/AIDS -- treatment, research, survival stories, memorials, safer sex resources or to tell a personal story about how the AIDS pandemic has affected their lives or the lives of your family and friends or to create a remembrance of a loved one who has died, or a tribute to someone living with the disease.

Sources/resources:

Jeff Gibson, VIRALYSIS: A BEGINNER'S GUIDE TO INFECTIOUS PSYCHOLOGY
CREATIVE TIME -- http://www.creativetime.org/
Gibson's DUPE: A PARTIAL COMPENDIUM OF EVERYDAY DELUSIONS -- is available at http://www.everydaydelusions.com

REMEMBERING STUART SHERMAN, Berkeley, CA Saturday, December 1, 5 PM, Pacific Film Archive Theater
Known widely for his tabletop "spectacles," Sherman had been called "the shaman of the mundane" for performances in which everyday objects were manipulated to evoke complex and witty ideas. To remember Sherman, PFA will screen twenty-six short films made between 1977 and 1987 that reveal the surprise and humor of ordinary things, often with Sherman himself as both foil and innocent to the cinematic shenanigans. For more information, visit

AIDS Delaware -- http://www.aidsdelaware.org/

Brian Weil Photographs
CENTER FOR CREATIVE PHOTOGRAPHY -- http://dizzy.library.arizona.edu/branches/ccp/home/home.html

BLACKOUT -- http://www.artistsagainstaids.com/

WORLD AIDS DAY -- http://www.worldaidsday.org

VISUAL AIDS is distributing the video FRAME BY FRAME FIERCE to show on World AIDS Day. For more information and to see "Fierce" stills, go to http://www.thebody.com/visualaids/dwa/dwa2001.html

MACDONALD STEWART ART CENTRE -- http://www.uoguelph.ca/msac/

THE ART ST. LOUIS GALLERY -- http://www.artstlouis.org/

MUSEUM OF TELEVISION AND RADIO -- http://www.mtr.org/welcome.htm

LINK AND THINK -- http://www.bradlands.com/dww/

ARTERY: THE AIDS-ARTS FORUM -- http://www.artistswithaids.org/artery

THE AIDS MEMORIAL QUILT -- http://www.aidsquilt.org

In his opinion, Justice Michael Bender wrote that "The fact that the defendant's article did not appear in a traditional newspaper does not change this result. We have previously stated that '[i]t is . . . well established that freedom of the press is not confined to newspapers or periodicals, but is a right of wide import and `in its historic connotation comprehends every sort of publication which affords a vehicle of information and opinion.'".... This means that if the contents of an article are newsworthy when published by a local newspaper, then they do not cease to be newsworthy when subsequently communicated by a different sort of publisher. Further, the fact that the defendant's reason for publishing the newspaper may have been his own commercial benefit does not necessarily render the speech 'commercial.' As noted above, a magazine or newspaper article is protected despite the fact that a publisher may publish a particular article in order to make a profit."

The case was brought against an investigation agency which published in its newsletter (which is sent free to police agencies and financial institutions) the results of its investigation against a Denver securities firm employee who was convicted of felony theft. In its newsletter, the investigation agency published her name and picture.

Although she did not object to the fact that a local newspaper wrote articles regarding her crime, arrest, trial, and conviction, or that these articles identified her by name, she characterized Dickerson's newsletter as an "infomercial....designed to promote Dickerson's private investigation firm and to attract business for the firm." She argued that because the character of the defendant's article was primarily commercial, it should not receive the protection of the First Amendment.

In his opinion Justice Bender emphasized "legitimate public concern" as a determining factor in First Amendment privilege, saying that "This privilege exists because dissemination of information regarding matters of public concern is necessary for the maintenance of an informed public."

Sources/resources:

Certiorari to the Colorado Court of Appeals
Court of Appeals Case No. 98CA1228
Case No. 00SC115
SUPREME COURT, STATE OF COLORADO
COLORADO BAR ASSOCIATION WEB SITE -- http://www.cobar.org/coappcts/sc2001/sc1119b.htm
The court also noted that publications can be sued for invasion of privacy if they use a person's name or likeness, if it's for the publication's own purposes or benefit, commercial or otherwise and if the person suffered damages, and the publication caused those damages.
Although narrowly focused, elements of the case which concern the invasion of privacy based on appropriation of another's name or likeness under Colorado law may also be of interest to artists who work includes appropriation.

Associated Press
"Newsletters given First Amendment protection"
FREEDOM FORUM -- http://www.freedomforum.org
November 21, 2001

"We programmed this piece because we believe in it as a work of art, and we still hold that conviction, The Boston Globe quotes BSO director Mark Volpe as saying. "However, given the proximity of the events of Sept. 11, we have decided in consultation with music director Seiji Ozawa, and with Robert Spano, who was scheduled to conduct it, to err on the side of being sensitive. We will therefore substitute Copland's FIRST SYMPHONY."

The Choruses were to be performed by the Tanglewood Festival Chorus. Edward R. Hennessy, Jr., the husband of Tanglewood Festival Chorus member Melanie Salisbury, was on American Airlines Flight 11, the first plane that crashed into the World Trade Center.

With a libretto by Alice Goodman, THE DEATH OF KLINGHOFFER centers around the October 7, 1985 hijacking of the Italian cruise ship Achille Lauro by four members of the Palestine Liberation Front and their murder of American Jewish passenger, Leon Klinghoffer, whose body was pushed in his wheelchair into the sea.

The opera overlays the murder with classical tragedy components of intense and conflicting beliefs and motives which lead relentlessly to a terrible act. The Choruses, which provide historical context, are:

Harmonium: I. Negative Love
Harmonium: II. Because I Could Not Stop For Death
Harmonium: III. Wild Nights
The Death Of Klinghoffer: Chorus Of The Exiled Palestinians
The Death Of Klinghoffer: Chorus Of The Exiled Jews
The Death Of Klinghoffer: Ocean Chorus
The Death Of Klinghoffer: Night Chorus
The Death Of Klinghoffer: Chorus Of Hagar And The Angel
The Death Of Klinghoffer: Desert Chorus
The Death Of Klinghoffer: Day Chorus

"Alice Goodman's second libretto was disturbing for many, not only because the clarity and simplicity of her Nixon in China libretto had given way to a rhythm and utterance that echoed in density and depth the Koran and the Old Testament, but also because in her text, she gave voice to the sufferings of both Jews and Palestinians," states the program notes on JOHN ADAMS EARBOX. "The very words of the Exiled Palestinians that open the opera were to some listeners not a simple statement of fact, but rather a provocation." Those words are:

"My father's house was razed
In nineteen forty-eight
When the Israelis
Passed over our street"

In an interview with David Beverly, Adams responded to a question about the "political neutrality" of the work, (which was picketed by the Jewish Information League when it was performed at the San Francisco Opera in the fall of 1992) by saying: "Well, I hope I can speak for my collaborators. We weren't making an overly conscious attempt to be neutral, but on the other hand, after reading about the background it was impossible not to have strong feelings. All of us did a lot of research. I read the Old Testament for the first time since I was in Sunday school, and read many books on the history of the Middle East, the foundations of Zionism, the Balfour Declaration, Theodore Herzl, etc. And I read a great deal of Edward Said's writing. I know Alice Goodman read most of the Koran. And I think we all felt independently of one another that the situation like any complicated political situation in the world is much too complex to fall into one easy answer or another. Clearly his death was a kind of a crucifixion. He was crucified for the class of people that he happened to fall into."

According to the Globe, Adam's responded to the BSO's cancellation of the work by saying: "I disagree with the decision, not only because it presumes the BSO's audiences only want comfort and familiarity during these difficult times, but also because it sets a precedent that there is poetry and music that should not be performed at a given moment because of its content."

Sources/resources:

Richard Dyer
"BSO bows out of 'Klinghoffer'"
http://www.boston.com
November 1, 2001

THE BOSTON SYMPHONY ORCHESTRA -- http://www.bso.org

JOHN ADAMS. THE DEATH OF KLINGHOFFER. Opra de Lyon/Nagano. Compact disc. Elektra Nonesuch 9 79281-2

JOHN ADAMS EARBOX -- http://www.earbox.com

KLINGHOFFER AND THE ART OF COMPOSING -- JOHN ADAMS TALKS WITH DAVID BEVERLY -- http://www.earbox.com/frames-html/interview-frames.html

ENCORE, the OPERA America web site that features information on underperformed works by North American creative artists. -- http://www.operaamerica.org/encore/home2.htm -- describes the opera in this way:
"The cruise liner Achille Lauro has been hijacked by four Palestinian men. A waiter has been shot, the ship's engines have been shut down, and the first officer has a gun pointed at his head. The Captain encourages the passengers, Americans, Britons, and Jews, to remain calm. The Captain is guarded on the bridge by Mamoud, who sings of his memories. The ship awaits permission to dock at the Syrian port of Tartus. The passengers have been moved to a platform where a helicopter might be able to land. Leon Klinghoffer, an American Jew, is confined to a wheelchair and is unable to be lifted onto the platform. Omar, another Palestinian, invokes the holy death he longs for. To emphasize the seriousness of their claims, the Palestinians shoot Klinghoffer and throw his body over the side of the ship. The Captain informs the authorities of the death and the possibility of further deaths of hostages. Molqi decides that no further killing is necessary, and negotiations with authorities commence. It is agreed that the ship will proceed to Alexandria, where the Palestinians will be allowed to disembark. The Captain informs Mrs. Klinghoffer of her husband's death."

NATIONAL COALITION AGAINST CENSORSHIP (NCAC) -- http://www.ncac.org
In cooperation with other free speech organizations, NCAC has created an index of which catalogs incidents of censorship and suppression of speech that are a direct result of the events of September 11th.

"While $50 million is a considerable sum, it does not begin to address the full range of the needs, and their urgency, that now confront cultural institutions -- museums, libraries, and performing arts organizations -- that so powerfully help to define New York City's special qualities," said William G. Bowen, President of the Foundation.

A portion of the fund will also be used to benefit more broadly the people of the City by supporting the public parks that were so important in the aftermath of the tragedy.

The fund will be administered by a special Trustee Committee chaired by the Foundation's Chairman, Hanna H. Gray, President Emeritus and Henry Pratt Judson Distinguished Service Professor Emeritus in History at the University of Chicago.

Institutions whose needs and goals are consistent with the objectives of the fund will be invited to submit proposals for support that document the direct financial and other consequences that they have experienced as a result of the events of September 11, 2001. These proposals should also explain how the Foundation's funding would help to sustain institutional purposes and programs during this difficult transitional period. It is anticipated that grants to institutions might range from $250,000 to as much as $1 or $2 million. Proposals and letters of inquiry should be directed to T. Dennis Sullivan, the Foundation's Financial Vice President.

The Andrew W. Mellon Foundation is a private foundation, with assets of approximately $4 billion, which makes grants on a selective basis to institutions in higher education; museums and art conservation; performing arts; population; conservation and the environment; and public affairs.

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

AFTER SEPTEMBER 11TH REFLECTING ON CHANGES IN THE ARTWORLD

ARTTABLE Program:
The New York ArtCorps and Program Committees invite you to "After September 11th Reflecting on Changes in the Artworld"

Schedule:

9:30-9:45 AM - Coffee
9:45-10:00 AM - Welcome and Introductions
10:00-10:45 - Panel Discussion I. NEW CHALLENGES FOR MUSEUMS AND NON-PROFIT ART SPACES
Speakers, Mary Sue Sweeney Price, Director, The Newark Museum and Holly Block, Director, Art in General
"What is the current climate in the not-for-profit arts community? What adjustments have been made (or will be made) to programs and exhibitions? How is the role of the museum/art space changing? How are institutions facing new political and social forces?"

10:45-11:30 - Panel discussion II. WHAT LIES AHEAD FOR GALLERIES AND SMALL BUSINESS OWNERS?
Speakers, Riva Blumenfeld, Bridgewater/Lustberg & Blumenfeld and Lisa Hahn, President, Art Horizons International
"What is the current climate in the for-profit arts community? How have the needs or interests of your clients changed? How will your business respond to these changes?"

11:30 AM- 12:30 PM - Roundtables Panels I or II
Facilitators Sharon Vatsky, Guggenheim Museum and Susan Schear, ArtIsIn, LLC

12:30-1:15 PM - Lunch (provided)

1:15-2:00 - Panel III. HOW HAS SUPPORT SHIFTED AMONG FOUNDATIONS, CORPORATE AND GOVERNMENT FUNDERS?
Speakers, Yona Backer, Program Officer, The Andy Warhol Foundation, TBA and Norma P. Munn, Chair, New York City Arts Coalition
"Have your funding priorities changed because of recent events, and if so how? How are funders supporting the visual arts community, particularly artists and arts organizations who have been most effected by the recent tragedies? How does the future look, particularly at the state and local level?"

2:00-2:45 PM - Panel IV. HOW ARE COLLECTORS AND PATRONS ADDRESSING THE NEW CLIMATE?
Speakers, Stacey Gershon, Curator V.P., JPMorganChase (and TBA)
"Has the focus of your patronage changed? Do you see a change in the focus of corporate and/or private collections?" Is your support of arts institutions and emphasis on collecting still a priority?"

2:45-3:45 PM - Roundtables Panels III or IV
Facilitators Helen Shannon New Jersey State Museum, and Renee Darvin, Teachers College, Columbia University

3:45-4:00 Wrap up and suggestions of future ArtTable programs

Organized by Riva Blumenfeld, Renee Darvin, Donna Harkavy, Pat Kettenring, Vida Schreibman, Helen Shannon, Susan Schear, Rosa Tejada, and Sharon Vatsky.

Fee $30 ArtTable Members/$35 guests, includes lunch Please respond by November 29, 2001. Space is limited. Reservations are required and are accepted only with payment. For a registration form, send email to estaller@arttable.org or for questions, telephone 212-343-1735

GRAND OPENING - BROWARD COUNTY COMMISSION'S CULTURAL INFORMATION CENTER

The Broward County Commission's Cultural Affairs Division and Libraries Division will host the Grand Opening of the Cultural Information Center. (CIC)

Within its walls, visitors can explore information about the arts in South Florida. They can also purchase tickets to arts events, shop for creative gifts or meet a friend for a cup of coffee. It also has an outdoor touch-screen ticketing kiosk and a gallery, gallery six, and a "cultural concierge" information booth staffed by volunteers who will provide information on cultural events throughout Broward county.

The program and reception begin at 11:30 AM, Friday, November 30, 2001, at the Main Library Auditorium in Fort Lauderdale. The 8,100-square-foot Cultural Information Center is located across from the auditorium, on the first floor of the Main Library, in the Riverwalk Fort Lauderdale, the downtown arts and entertainment center.

The grand opening will feature a state of the arts address by Bonnie Barnett, chair of the Broward Cultural Affairs Council as well as performances by The Fort Lauderdale Children's Theatre, Millennium Dance Syndicate and Silver Nightingale. VIPs will be on board for a ribbon cutting - followed by refreshments and tours of the CIC.

Funded in part by a grant from the National Endowment for the Arts and the Florida Department of State, Division of it: Fully and graphically expressed
Implicit: Implied and understood though not graphically expressed
The body can speak the language of love with subtlety or with aggressively sexual directness. Love, lust, hate, envy, comedy, tragedy are but a few of the ways in which our lives are displayed to friends, loved ones or strangers."

The 66 artists in the 10th Lesbian and Gay Photography Exhibition Leslie-Lohman photo annual reflect those moments in 150 plus photographs. Participants are:

Thomas Adams, Tommy Allen, Cory Armpriester, Dominick Avellino, Amos Badertscher, Bruce Beck, Yarrott Benz, Jean-Pierre Bonin, Mike Boroskey, Brendon Connors, Robert Cusido, Derek, George Dinhaupt, Mark Alan Dunn, Bruce Eves, Michael Farley, Brook Garrett, Tomas Gaspar, Eric Gibbons, Max Greenberg, Steve Hohenboken, Hugh Holland, Robert Irwin, David Jarrett, Jeffrey Jay, S. Brett Kaufman, James Kempster, Farsad Labbauf, Miles Ladin, Frank LaRocca, Ross Bennett Lewis, Victor Magide, Marcelina Martin, Reed Massengill, Raymond Masters, Deanna McIntyre, Y. Nagasaki, Paco Ojeda, Paul Pavese, Jim Pavlicovic, Dale Pierce, Bob Pileggi, Ves Pitts, James Pritchard, Max rada dada, Thommy Rex, Paul Roberts, Lucien Samaha, Martinu Schneegass, Andrew Sellon, Pet Silvia, Jack Slomovits, David Sprigle, Brian Steimel, Jack O. Summers, Deborah Swanger, Richard Taddei, David Thomas, Ted Titolo, Douglas Turnbaugh, Johann van Wyk, Geraldo Valerio, Ron Volanti, Greg Weiner, Eva Weiss, and Howard Zucker.

The Leslie-Lohman Gay Art Foundation is a non-profit foundation, established in 1990 to provide an outlet for art work that is unambiguously gay and which is frequently denied access to mainstream venues.

The Foundation's Leslie-Lohman Gallery mounts exhibitions of work in all media by gay and lesbian artists with an emphasis on subject matter that speaks directly to gay and lesbian sensibilities, including, erotic, political, romantic, and social imagery and providing special support for emerging and underrepresented artists.

Programs include regularly scheduled exhibitions, video events, workshop presentations of plays, a slide registry, artists' and curator's talks, panel discussions, newsletter, a membership program and an archive with the Foundation's permanent collection.

"We are always looking for new and interesting artists to show. Since we do not keep a regular 'stable' of artists that we have to show periodically please contact us with your work. You may be just what we are looking for," they state.

For more information, visit http://www.leslie-lohman.org/location.htm

Deadline: December 15, 2001 - THE JAZZ COMPOSERS ALLIANCE announces its annual Julius Hemphill Composition Awards. The goal of the Jazz Composers Alliance is to promote the art of jazz composition, and to honor the role composer Julius Hemphill had in the world of jazz. All composers are eligible to enter in two categories: Large Ensembles and Small Ensembles. There is a $20 application fee. For more information and application guidelines, contact: Jazz Composers Alliance, Box 491, Allston, MA 02134 or email JCAComp@aol.com

Deadline: January 15, 2001 - THE MACDOWELL COLONY in Peterborough, NH, was founded in 1907 to provide a place where creative artists could find freedom to concentrate on their work. The colony has 32 studios spread over 450 acres. Writers, composers, visual artists, photographers, printmakers, filmmakers, and architects are eligible to apply. Artists pay $20 application fee and for travel and materials. For more information, contact: The Admissions Coordinator, The MacDowell Colony, 100 High St., Peterborough, NH 03458; phone (603) 924-3886; or visit http://www.macdowellcolony.org

Deadline: January 15, 2001 - THE CONSTANCE SALTONSTALL FOUNDATION FOR THE ARTS runs the Saltonstall Arts Colony, which provides New York State artists with month-long retreats, and its Individual Artist Grants, which provide financial assistance to artists in the Finger Lakes region of New York State. The Foundation annually awards grants of $5,000 to writers and visual artists in the central and western counties of New York State. For the 2002 grants, the Foundation is accepting applications from poets, fiction or creative non-fiction writers, painters, and photographers. There is a $10 application fee. The Saltonstall Arts Colony provides local artists and writers with access to studios for six-week sessions. Studio Sessions are non-residential (for day and evening use only) and free. Artists in other disciplines and groups working on collaborative projects will also be considered. For 2002 residencies, the Foundation will accept applications from poets, fiction or creative non-fiction writers, painters, and photographers. Artists who wish to apply to more than one program or artistic field must make complete and separate applications for each case. For more information, contact: Constance Saltonstall Foundation for the Arts, P.O. Box 6607, Ithaca, NY 14851 or visit http://www.saltonstall.org

On Monday April 29, 2002, as every year since 1982, Dance Day will be celebrated all over the world.

The main purpose of Dance Day events is to attract the attention of the wider public to the art of dance -- with a special emphasis on addressing a "new" public, people who do not follow dance

Dance Day events may be special performances, open-door courses, public rehearsals, lectures, exhibitions, articles in newspapers and magazines, dance evenings, radio and TV programs, visits, street shows etc.

The International Dance Council - CID, - the UNESCO umbrella organization for all forms of dance in all countries of the world features guidelines on its website at http://www.unesco.org/ngo/cid/html/dance_day.html

The dates have been scheduled for next year's NATIONAL DANCE WEEK (NDW) celebration as April 26 through May 5, 2002.

Associated projects include:

NDW ACADEMIC PROJECT - a program in which the teacher of any and all academic subjects may present a project within their syllabi which allows for one of two explorations, suc as the incorporation of Dance into any other subject of the academic curriculum.

NDW MENTORING PROGRAM - connecting aspirants to careers in the dance arts and associated fields with working professionals who are willing to provide guidance, advice and counseling

NDW COMMUNITY PROJECT - a commitment to conduct some dance-related event or activity during National Dance Week. (information is in the Mentoring Project section)

NDW POSTER CONTEST - Sponsored by Dance Magazine and Capezio/Ballet Makersr, the annual poster contest for students (in 3 age categories) supports the mission of National Dance Week: to heighten awareness of Dance and its contributions to heighten awareness of Dance and its contributions to our culture.

For details about participating in NDW, visit http://www.nationaldanceweek.org/news02.htm

Opportunities for Artists

WASHINGTON, DC -- On Saturday, December 1, 2001, the Corcoran College of Art + Design will host National Portfolio Day from 10:00 a.m. to 2:00 PM. More than 40 nationally accredited art institutions of higher education will be represented, and more than 700 students are expected to attend from the Washington, D.C. metropolitan area.

High school art students, graduates, transfer students, teachers and parents are encouraged to attend this event. Visitors to National Portfolio Day should use the New York Avenue/College entrance. There is no charge. Visitor registration will take place in the auditorium before proceeding to the event.

Students will have the opportunity to meet with admissions representatives, have their portfolios reviewed and pick up college information from institutions located across the country and in Canada. They include The Cleveland Institute of Art; The Cooper Union School of Art; Kansas City Art Institute; Massachusetts College of Art; Minneapolis College of Art and Design; Rhode Island School of Design; Ringling School of Art and Design; Rochester Institute of Technology; San Francisco Art Institute; The School of the Art Institute of Chicago; School of the Museum of Fine Arts; School of Visual Arts; SUNY New Paltz; Tyler School of Art, Temple University and many others.

National Portfolio Days help further the artistic development of young artists by bringing together experienced college representatives to review their work and offer critique. They offer young artist the chance to hear many different opinions about their work and to exchange information about their work, and their college plans.

Founded in 1890, the Corcoran College of Art and Design offers a Bachelor of Fine Arts degree. Areas of study include: Ceramics, Digital Art, Digital Media Design, Drawing, Fine Art, Graphic Design, Painting, Photography, Photojournalism, Printmaking and Sculpture. The College is located at 17th St. and New York Avenue in Northwest Washington, DC.

For more information, visit http://www.corcoran.org/college/port_day/

The Dance Resource Center of Greater Los Angeles (DRC) is sponsoring a Dance Video Salon Series to present selections of contemporary dance videos and films made locally, nationally and internationally. The salons will be held on a bimonthly basis and invite participation and discussion from local dance film/video makers and audiences.

The first event is planned for Saturday December 8th from 4-6 PM at the Midnight Special Bookstore on the Third Street Promenade in Santa Monica, California.

It will present several short films featuring local filmmakers like Carole Cetrone and Award Winning Mitchell Rose, Best Director and Best of Festival, and dance artists Melinda Ring and Erin Hirsh, as well as a selection of Canadian and European dance-films. The screening will last approximately 70 minutes with time allowed for introductions by the artists and any audience questions or comments.

For more information please contact Lynette Kessler at 310-455-8627 or lkessler@netwood.net

The Dance Resource Center -- http://drc-la.org -- offers a variety of services within the Los Angeles dance community. Its membership is composed of performers, choreographers, educators, technicians, designers, artisans, students, and of course the dance audience.

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: November 2001, Artists, Writers - how the events of September 11 have altered your behavior -- toward others, your city, your daily life -- how the events changed your perception of reality and the world around you, REACTIONS, Exit Art, New York City

Deadline: December 15, 2001, Artists - All media, work influenced and inspired by the meaning and concept of the "book", LINK 8, exhibition in New York City and Baltimore

Deadline: December 15, 2001, Artists whose focus is sculpture, INTERNATIONAL RESIDENCY PROGRAM, Sculpture Space, Utica, NY

Deadline: January 1, 2002, (extended) Proposals on all aspects of new media and writing, especially by those whose work is based in new media, on or off the Internet, INCUBATION 2002, Nottingham Trent University, UK

Deadline: February 15, 2002, Plays inspired by HAMLET, Anthology, VOICE & VISION THEATER

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, email them to joblist@artswire.org Please send a text file in the body of the message. (ie no attachments and no HTML) There is no fee for posting job listings. The deadline is Friday for the next week's listings. (which usually are posted on Monday) For the most part, job listings are not edited. The contents of the postings are the responsibility of the originating agency.

ASSISTANT OR ASSOCIATE PROFESSOR OF THEATRE, Department of Theatre and Film/University Theatre, University of Kansas, (Lawrence, KS)

INSTRUCTOR, Interactive Design, Columbus College of Art and Design, (Columbus, OH)

SPECIAL EVENTS COORDINATOR, Brooklyn Academy of Music, (Brooklyn, NY)

MANAGING DIRECTOR, East Bay Center for the Performing Arts, (Richmond, CA) (San Francisco Bay Area)

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

PERIOD-STYLE ART AND POTTERY TEACHER; PAPER CLAY INSTRUCTOR; MOSAIC ART INSTRUCTOR, (all part-time) The Craft Students League at the YWCA, (New York, NY)

PRE-K ARTS INSTRUCTOR, (part-Time) The YWCA of NYC and The Craft Students League, (New York City, NY)

ART TEACHERS/ INSTRUCTORS, (part-time) East Harlem Tutorial Program, (New York City, NY)

COMMUNICATIONS DIRECTOR/ ORGANIZER, Free Expression Policy Project, National Coalition Against Censorship, (New York City, NY)

DIRECTOR OF DEVELOPMENT, School of VISUAL ARTS, (New York City, NY)

DIRECTOR OF DEVELOPMENT AND MARKETING, The Regional Arts & Culture Council, (Portland, OR)

ASSISTANT TO THE EXECUTIVE DIRECTOR, Rush Philanthropic Arts Foundation, (New York City, NY)

CONCERT SERVICING, (Classical music artists management) (New York City, NY)

TICKET MANAGER, Sangamon Auditorium, University of Illinois at Springfield, (Springfield, IL)

INTERNSHIP, Performing Arts Public Relations Agency, (New York, 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

"Can people with Alzheimer's disease and related dementia, whose memories and communication skills have broken down, tap into the power of creativity to express themselves? What might be the rewards, if any? Time Slips began as an experiment to answer this question."

TIME SLIPS -- http://www.timeslips.org -- began in Milwaukee, Wisconsin in 1998 with a team of artists, caregivers, and people with dementia who explored ways creative storytelling could help open communication with and understanding of people with Alzheimer's disease.

Based on the research of Project Director Anne Basting, they designed interactive, intergenerational storytelling workshops to test the benefits of verbal creativity. Today, the storytelling workshops continue in Milwaukee and New York City, and trainings in the method are being held across the country.

In addition to a history of the project, methodologies, research, and documentation of plays and exhibitions, the website presents a series of stories told by the storytellers with Alzheimers. The storytellers responded to an image, and on the web site, their stories are juxtaposed with the images which inspired them and with photographs of the storytelling circle in which they were created.

In response to a photograph of a tuba player, a participant began:

"He's Tony the Trumpet player from Tampa
trying to get a tune. He loves it, and you
oughta try it too.
He pays the mouth organ too. He is
looking at the music to "When the Saints
Go marching Home."
He likes music and lots of people are
listening while they work. There are a
hundred hard working people around him.
There are no other instruments being
played -- Tony is all solo...."

And in response to a photo of an elderly women in the cockpit of an old plane, a participant's story closes with the words:

"....All the way to Seattle, the weather is clear,
Dizzy plays clarinet, Ethel sings Mary's
Italian song (Ceru Luna Mia Maza), and
she remembers the farm her father Lee
Hugh built and his big red horse.

But that's all gone now."

An "immediate and temporary artistic gesture to foster hope, unity, healing and comprehension of the mass devastation suffered by New York City," the initiative, led by Creative Time and The Municipal Art Society of New York is described as

"twin white beacons of light that will rise from
Lower Manhattan and be visible from a
distance; the project will neither interfere with
nor detract from rescue and recovery, debris
removal and reconstruction. The beacons will
at once echo the World Trade Center Towers
and serve as a votive candle in memory of
lives lost while giving presence to the
ongoing and heroic relief efforts downtown."

For more information and a weblog of articles about and response to the project, visit the Creative Time website at http://www.creativetime.org