Created by several artists or by a group of artists, a notable percentage of funded projects in this round are collaboratively produced.

For instance, collaborating for the first time, pianist-composer Vijay Iyer and poet/hip-hop artist Mike Ladd (New York, NY) received a Creative Capital award for IN WHAT LANGUAGE, an urban song cycle merging spoken-word poetry with contemporary experimental jazz. "The song cycle, set in an international airport in the 21st century, consists of a series of internal monologues by a diverse array of transiting passengers and airport workers. The narrator is a young African-American man, and the recurring trope of brown skin becomes a site for the complex interplay of postcolonial concerns," they state.

For instance, director Kari Margolis and composer Tony Brown (Minneapolis, MN) received funding for the dance/theater performance SLEEPWALKERS which uses sleepwalking as a metaphor for how people live their lives -- examining "the relationship of guilt to religious visions of the afterlife with ancient stories from the Bible, classical Western literature, and the Tibetan Book of the Dead," Creative Capital notes.

And Steven Kurtz, Steven Barnes, Dorian Burr, and Beatriz da Costa (Pittsburgh, PA) received funding for GENTERRA, a series of projects by the collective Critical Art Ensemble (CAE) which explore the politics of and public reaction to the creation and release of genetically-engineered life forms into the environment.

Iyer and Ladd's In What Language was commissioned by the Asia Society in New York City, with a grant from the Mary Flagler Cary Charitable Trust. "The recent generous support of Creative Capital will assist in the realization of the music as we approach the spring 2003 premiere performance," they told Arts Wire CURRENT. The grant will fund the intensive rehearsal process as the project progresses from score and libretto to performance-ready work. A portion of the grant will also fund audio and video documentation of the performance preparation process, and this multimedia documentation will form part of the promotional materials for the work.

Among the recipients of 2002 Creative Capital funding in Performing Arts are:

• Donna Uchizono and Guy Yarden (New York, NY) for THE SALON PROJECT which includes the expansion and reconfiguration of their new modern dance work LOW for "salon" performance in ballrooms and dance halls. The audience will participate in traditional tango dancing.

• Bob Massey and David Wilson (Silver Spring, MD) for THE NITRATE HYMNAL, an experimental opera using found film footage and a score which fuses chamber music and post-punk rock - an aging couple attempt to preserve their youth by filming their lives on an 8-millimeter home movie recorder.

• James Luna, (Pauma Valley, CA) who describes his multimedia performances as "hightechpostmodernsurrealisticsubculture evenings of demented Indian Humor" - for SURREAL POST INDIAN BLUES & THE ORIGIN OF THE SUN AND THE MOON.

  Also in Performance, Rafael Sanchez (New York, NY) received funding for THE LIBATION BEARERS. Franklin Furnace documents The Libation Bearers in this way:

  "Set in a black and white netherworld of exaggerated props with the visual impression of a live early silent film, its twelve elaborately costumed performers lip-synch vignettes from the early music of the rock band Queen. These musical selections combined with the commedia della arte performers create a fractured allegory of love, jealousy and the pursuit of spiritual nobility in a darkly spirited world."

• Sawad Brooks and Urapong Amornvivat (Brooklyn, NY) for EMOTIONAL LIGHTING SYSTEMS, a series of coactive lamp sculptures which respond to viewers' emotions

• Steve Badgett and Matt Lynch (Chicago, IL) for a self-contained, autonomous living system to be built on an abandoned military base in Nevada (by the group SIMPARCH in conjunction with the Center for Land Use)

• Eddo Stern (Los Angeles, CA) for THE FALL OF THE RUSSIAN EMPIRE: MIR, KURSK, CHERNOBYL, described by Creative Capital as "A series of functional pinball machines evoking US-Soviet relations in the 1970s and 1980s"

  Also in Emerging Fields, Miranda July and Harrell Fletcher (Portland, OR) will use their grant to support LEARNING TO LOVE YOU MORE - A community-building website with interactive "assignments" which include "Make A Child's Outfit in an Adult Size" and "Start a "Lecture Series".

Since they began in 1999, Creative Capital grants have been instrumental in developing and presenting works, allowing artists -- such as 2002 Creative Capital grant recipient Mark Napier -- to develop and present new works.

Napier (New York, NY) received funding for 0X1, a digital mandala, which he describes as "drawn by software that visualizes the seemingly infinite universe of the web as a single, finite, yet ever evolving image."

Inspired by Tibetan sand painting, the work uses the text and images which comprise the web "as a fragile raw material which trickles onto the screen, endlessly drawing and redrawing the mandala," Napier explains. "As Tibetan monks use mandalas to envision man's place in the cosmos, I will create a digital mandala to envision man's place in the man-made virtual cosmos, the Internet." Napier's mandala is a shared "object" which resides on the network and can be viewed by many people at the same time. Exploring interaction as both a destructive and creative act, he is designing the work so that any visitor can erase the mandala with a single mouse click. "The software continues drawing, and creates a new mandala, but no one viewer has control over how long the mandala will draw, or what appearance it will take," he notes.

0x1 consists of two parts the software that draws the mandala imagery, and a server that supplies data to the drawing. Napier will use his Creative Capital grant to develop the drawing software for so that he can begin to generate a mandala, and he will also focus on raising more money to develop the server part of the project.

Cindy Bernard and Joseph Hammer (Los Angeles, CA) received a Creative Capital 2002 grant for SOUNDCOMMONS, a web-based sound installation project which will allow composers to collaborate and distribute their music online. "With soundCommons we're building on our previous collaborative work, which breaks through the boundaries of visual art and experimental music in order to broaden audiences for both disciplines," they told Arts Wire CURRENT. "soundCommons will serve as a catalyzing/coalescing force for experimental collaborative practices on the web by placing a site for creation and distribution in the hands of visual and sound artists."

Creative Capital not only funds specific projects but also works to help artists continue to make their work in the years following the grant -- though planning meetings with the Creative Capital staff, promotional support on the Creative Capital website, and in some cases assistance with the development of a business plan.

"What's great about Creative Capital is they backup their financial commitment with development advice and other resources," Bernard and Hammer noted. "soundCommons is a complex project that we hope will ultimately take on a life of it's own as a new type of venue for the creation and dissemination of experimental art and sound practices."

Selected from 2,312 submissions, the projects were chosen by national evaluators in a preliminary round and then a final selection was made by a panel of artists and arts professionals from the field. Creative Capital reports that the applicant pool was geographically diverse with submissions from 49 states and the District of Columbia.

In addition to the artists mentioned earlier in this article, the other artists who received funding in this round were:

PERFORMING ARTS

• Homer Avila; (New York, NY)
• Sujata Bhatt; (Los Angeles, CA)
• Maureen Brennan, Ellen Baird, Kerry Lowe, and Ashley Smith; (Brooklyn, NY)
• Nick Cave; (Chicago, IL)
• Joanna Haigood and Wayne Campbell (San Francisco, CA)
• Shelley Hirsch (New York, NY)
• Dan Hurlin (New York, NY)
• John Leanos, Monica Praba, and Ren Garcia (San Francisco, CA)
• Cynthia Oliver (Urbana, IL)
• Daniel Roumain (New York, NY)
• Andrew Simonet, Amy Smith, and David Brick (Philadelphia, PA)
• Richard Move (New York, NY)
• Yasuko Yokoshi, Dean Moss, and Mayumi Hayashi (Brooklyn, NY)
• Victoria Vazquez (Brooklyn, NY)

EMERGING FIELDS

• Tana Hargest (New York, NY)
• Kelly Heaton (Boston, MA)
• Eduardo Kac (Oak Park, IL)
• Heidi Kumao (Ann Arbor, MI)
• Suzanne Lacy (Oakland, CA)
• George Legrady and Stephen Pope (Santa Barbara, CA)
• Sharon Lockhart (Los Angeles, CA)
• Jennifer McCoy and Kevin McCoy (Brooklyn, NY)
• Sabrina Raaf (Chicago, IL)
• Marie Sester (San Francisco, CA)
• Faith Wilding, Christina Hung Nguyen, Laleh Mehran, and Hyla Willis (Pittsburgh, PA)

The 2002 grantees will now begin working with Creative Capital staff and consultants in an intensive Artist Services Program that includes assistance in fundraising, networking, marketing, and strategic planning.

Funded artists can also attend an Artists Retreat where they meet each other and become familiar with each other's work.

"It is our hope that, over time, this will foster a community of artists willing to share experiences and information with each other," Creative Capital President Ruby Lerner writes on the Creative Capital website.

Founded in January 1999, Creative Capital Foundation is a national nonprofit organization which supports individual artists pursuing innovative approaches to form and content in the fields of performing, visual, and media arts, and in emerging fields including computer-based work, experimental literature, and other new and hybrid art forms.

"We seek to act as a catalyst for the development of adventurous and imaginative ideas. We are interested in artists who are deeply engaged with their art forms, and who exhibit a rigorous commitment to their craft," Creative Capital writes on their web site. "In particular, we look for artists who are articulate about their work and who have an understanding of the professional landscape. We have a special interest in projects that transcend discipline boundaries, and we will consider projects at any stage of development. Creative Capital is committed to diversity in all its forms."

The next grant period will be 2003-04, when Creative Capital will fund artists in visual and media arts. The deadline for that year's preliminary application will be Friday, October 31, 2003.

Sources/resources:

CREATIVE CAPITAL -- http://creative-capital.org

Vijay Iyer and Mike Ladd
IN WHAT LANGUAGE -- http://www.vijay-iyer.com/projects70.shtml
Composed by Vijay Iyer, the score -- for an 8-piece band (trumpet, saxophone, trombone/cello, piano/keyboards, guitar, bass, drums, percussion) plus 3 speaking/singing voices -- consists of a series of aural tableaux employing cyclical rhythms and jazz textures. "Each piece is intended as a space for improvisation, interactivity, and musical dialogue," Iyer explains. "The compositional language draws from a variety of western and nonwestern aesthetics, hybridizing the sound and feel of hip-hop with the pathos of American minimalism and the rhythmic concepts of West Africa and South India."

Jennifer Schneider
"Edging toward a meaning of movement"
MINNESOTTA DAILY ONLINE -- http://www.mndaily.com/daily/2001/04/12/lens/len1/
April 12, 2001
a review of SLEEPWALKERS
(Note that among other SLEEPWALKERS is a play by Cuban American playwright Jorge Ignacio Cortinas which explores life in contemporary Cuba)

CRITICAL ART ENSEMBLE -- http://www.critical-art.net/

Donna Uchizono and Guy Yarden
THE SALON PROJECT -- http://www.ladonnadance.org/projects.html

Washington State University VPLAC
JAMES LUNA -- http://cub.wsu.edu/vplac/JamesLuna.html

Franklin Furnace
RAFAEL SANCHEZ - http://www.franklinfurnace.org/press/102398.html

Miranda July and Harrell Fletcher
LEARNING TO LOVE YOU MORE -- http://www.meca.edu/learning_love/

MARK NAPIER -- http://www.potatoland.org

Cindy Bernard and Joseph Hammer
UNTITLED[GEL/SOUND] --- http://www.sound2cb.com/art/collaboration/metrolab/index.shtml

"This baseline study provides our first snapshot of the state of technology use and digitization by the nation's libraries and museums, said IMLS Director Robert Martin. "It depicts pockets of digitization activity and planning that are making collections much more widely accessible. It is clear that emerging technologies are connecting more people to the services and information museums and libraries provide."

Funding to support technology implementation and digitization activities was an outstanding IMLS role identified by both museums and libraries in the survey. Desired assistance with funding needs also included identifying other sources of funding; identifying costs and resources needed; and identifying cost-effective technologies. Another IMLS role which was strongly supported was the identification of best practices, model projects, and information about standards, guidelines, and resources.

The report, STATUS OF TECHNOLOGY AND DIGITIZATION IN THE NATION'S MUSEUMS AND LIBRARIES, surveyed museums, public libraries, academic libraries and State Library Administrative Agencies. It found that 87 percent of museums and at least 99 percent of surveyed libraries use at least some technology, most commonly: desktop computers, Internet access, email, office software, Web sites, and computerized collection catalogs.

However, although according to the report, the use of technology is strong in the medium-sized and large museums, it lags significantly in the smaller museums. Thirteen percent of these museums with budgets less than $250,000 indicated no technology use, not even desktop computers. In these small museums, only 41 percent have Web sites.

"The findings indicate that museums have fewer sources of funds for investment in technology, relying on operating funds, gifts from donors, and in-kind contributions. Twenty percent of responding museums report having no funding for technology," IMLS notes.

In addition to providing a baseline for funding needs in the museum and library sectors, the report is interspersed with inset information about "exemplary projects," such as a joint project of the libraries of Indiana University-Purdue University Indianapolis and the Indianapolis Museum of Art which uses the Internet to give teachers access to images of artworks.

From the seminal collaborative Colorado Digitization Project; to a University of the Virgin Islands digitization project which shares the islands' unique cultural materials with the world, these projects illustrate how libraries and museums use technology in innovative ways to expand and improve public service. Both in the insets in the report and in the more detailed profiles on the IMLS web site which they point to, the exemplary projects cited in The Status of Technology and Digitization in the Nation's Museums and Libraries provide ideas and information to seed future projects across the spectrum.

For instance, in Baltimore, MD, Johns Hopkins University maintains one of the country's largest online collections of sheet music. The collection encompasses images of more than 29,000 pages of popular American music from 1780 to 1960. In a project supported by an IMLS-Library Services and Technology Act (LSTA) funded National Leadership Grant, the collection will be enhanced allowing users to see the sheet music images, play the scores, and accurately search the lyrics.

For instance in Birmingham Alabama with IMLS funding, the Birmingham Cultural Alliance Program (BCAP) has developed a series of afterschool learning programs covering many aspects of African American culture and heritage. BCAP, a collaboration of six museums and the public library, offers inner-city children an opportunity to discover their cultural heritage -- from jazz legends like Erskine Hawkins; to Birmingham's 16th Street Baptist Church, the epicenter of the Civil Rights Movement. In addition to hands-on access to collections, the children have utilized computers to create movement murals and have interviewed and videotaped civil rights movement "foot soldiers."

Among technologies expected to grow, the report particularly emphasized the digitization of collections -- the process of converting, creating, and maintaining collections in electronic representations so they can be viewed via computer.

For instance, with an IMLS LSTA-funded National Leadership Grant, Montana State University Libraries at Bozeman and the Museum of the Rockies have created a searchable database of 1,500 images of the Cheyenne, the Gros Ventres, and twelve other Plains Indians cultures.

For instance, three Taos Valley New Mexico museums have collaborated with the University of New Mexico in a project which brings together more than 12,500 publications about Southwestern history, art history, ethnology, anthropology, and archeology. The Southwest Research Center of Northern New Mexico contains periodicals on art and museum practices and archival materials. It also holds 32,000 historic and modern photographs. The project is working to digitize the photographic images -- both conserving the original materials and increasing access for the public.

Among other applications, the IMLS will use the survey findings to encourage best practices in digitization activities including policy development, use of digital registries, and collaboration. Future studies may explore barriers to technology adoption and digitization and study how museums and libraries can collaborate on the systematic digitization of American collections.

Sources/resources:

Institute of Museum and Library Services (IMLS) STATUS OF TECHNOLOGY AND DIGITIZATION IN THE NATION'S MUSEUMS AND LIBRARIES -- http://www.imls.gov/Reports/TechReports/intro02.htm
Free copies of the report may also be obtained by emailing the Institute at imlsinfo@imls.gov

IMLS WEB SITE -- http://www.imls.gov

NEW YORK CITY, NY - In 1998, The Ailey School and Fordham University began a partnership to create a four-year Bachelor of Fine Arts (BFA) dance degree program for serious dance students which integrated artistic and academic education. This spring, the first graduating class of 15 students were awarded a BFA degree in dance.

"Located in the cultural heart of New York City, the Ailey/Fordham BFA degree in dance offers the best of both worlds: the artistic pre-eminence of a dance center with a world-famous performing company and a strong liberal arts education rooted in the Jesuit tradition of academic excellence," the program notes.

The curriculum includes both dance and liberal arts classes. At The Ailey School, students study dance including Horton- and Graham-based modern techniques, classical ballet, West African dance, and jazz among other techniques. They also have many opportunities to learn and perform varied repertory from Ailey School faculty and guest artists. In addition, students study music, dance history, anatomy and kinesiology, choreography, including improvisation and dance composition classes. In their senior year, students perform both at The Ailey School and Fordham University's Pope Auditorium.

"We are thrilled to be celebrating the graduation of 15 talented artists and scholars who accepted the challenge of a balanced, comprehensive and intensive education in dance and liberal arts, and flourished," said Denise Jefferson, Director of The Ailey School. "It's a testament to the high-level of artistic and academic excellence at both institutions that a unique program such as this could not only succeed, but thrive."

Sources/resources

ALVIN AILEY -- http://www.alvinailey.org/

FORDHAM UNIVERSITY -- http://www.fordham.edu

BALTIMORE, MD -- The New York-based Reginald F. Lewis Foundation has announced that it will donate $5 million to a museum of African American history and culture, scheduled to open in 2004, according to PHILANTHROPY NEWS DIGEST. (Associated Press report) Lewis, who died in 1993 at age 50, was head of the $1 billion TLC Beatrice International Holdings, one of the country's biggest black-owned business.

Now named for Baltimore-born philanthropist Reginald F. Lewis, the Reginald F. Lewis Maryland Museum of African American History and Culture is expected to open on Museum Row near the Baltimore City Inner Harbor in 2004. The new museum's architectural and engineering team is a joint venture between The Freelon Group (North Carolina) and RTKL.(Baltimore) The design firm is Gallagher & Associates. (Washington, DC)

According to the Maryland Historical Trust, The State of Maryland provided major funding for the design and construction of the museum, and is committed to 75% of the museum's operating budget in its first three years, and 50% thereafter.

With a focus on African American Marylanders, the Reginald F. Lewis Maryland Museum of African American History and Culture will collect and display art, historical documents, and artifacts. Interactive learning centers; permanent, temporary, and traveling exhibitions, and a theater hosting intimate performances and symposia are included in the plans.

Sources/resources:

Associated Press
"Museum to Bear Philanthropist's Name"
PHILANTHROPY NEWS DIGEST -- http://www.fdncenter.org/pnd
June 21, 2002

THE FREELON GROUP -- http://www.freelon.com/

MARYLAND HISTORICAL TRUST -- http://www.marylandhistoricaltrust.net/new-mus.html

"The current school climate, with its emphasis on short-answer high-stake testing, could not be more inimical to in-depth and thoughtful arts education" -- Howard Gardner, ARTS SURVIVE: A STUDY OF SUSTAINABILITY IN ARTS EDUCATION PARTNERSHIPS (quoted by Jane Polin to set the stage at the opening of the YOUNG ACHIEVERS summit)

In celebration of our their 50 years and in preparation for the future, Young Audiences invited Jane Polin, a national leader in arts learning, to design an arts-in-education summit. On Friday, November 16, 2001, more than 150 leaders in the arts, education, community development, business, and government gathered in New York City for a one-day national summit to address some of the key issues for the emerging field of arts learning.

A condensed version of YOUNG ACHIEVERS - A NATIONAL SUMMIT ON ARTS LEARNING is now available in PDF form on the Young Audiences web site at http://www.youngaudiences.org/yasummit.pdf

The program began with a Fred Friendly Seminar: TESTING THE LIMITS which was designed to engage the panelists and summit participants in discussion of how high-stakes testing will impact education, in general, and arts education, in particular. The Moderator was John Hockenberry, a correspondent for Dateline NBC.

Three moderated panels focused on the topics of:

• ACCOUNTABILITY, which addressed how high-stakes testing has become a vehicle perceived as critical to achieving accountability. Moderator: Deborah Wadsworth, President, Public Agenda, New York, NY

• PROGRAM QUALITY, which provided "quality criteria" from three perspectives: funder, educational researcher, and business leader. It also addressed the distinctions between concerns of "accountability" and "program quality." Moderator: Peter Goldberg, President & CEO, Alliance for Children and Families, Milwaukee, WI

• COMMUNITY ENGAGEMENT. Panelists broadened and redefined the f THE OLD NEIGHBORHOOD, WHAT WE LOST IN THE GREAT SUBURBAN MIGRATION; Anthony Trujillo, Field Services Director, National Center on Education and Economy, Washington, D.C.; Robert F. Sexton, Executive Director, The Prichard Committee for Academic Excellence, Lexington, KY; Sandra Gibson, President & CEO, Association of Performing Arts Presenters, Washington, DC; Kassie Davis, Project Director, Greater Chicago Philanthropy Initiative, Executive Director, Civic Preservation Foundation, Chicago, IL; and Steve Seidel, Director, Harvard Project Zero, Harvard University, Graduate School of Education, Cambridge, MA.

  Participants were encouraged to provide their insights from these discussions, and a selection of their comments is also contained in this report.

  John Hockenberry, NBC, commented:

  I grew up thinking that all families had some sort of homegrown family band. What I discovered as I grew up is that not all families had a stereo system. My assumption that everybody played an instrument was not matched with reality. So, I came to understand how rare that was. I also came to understand how precious it was. There is just something wonderful about playing music and putting together your own ensemble that speaks with its own voice.

  I think we teach people in the United States to be consumers of art rather than participants in art. Art is ultimately not a spectator sport. It's a participant sport. It's a form of cultural rugby where everybody is just rolling around in the mud with their own ideas and their own feelings and their own source of contributions."

  Sources/resources:

  YOUNG ACHIEVERS - A NATIONAL SUMMIT ON ARTS LEARNING -- http://www.youngaudiences.org/yasummit.pdf

  YOUNG AUDIENCES -- http://www.youngaudiences.org The purpose of Young Audiences is to establish the arts as an essential part of the education of young people

  ---

  Conferences

  BLOOMFIELD HILLS, MI
  July 19-22, 2002
  Cranbrook Academy of Art

  2002 ACSA/AIA Teachers' Seminar at Cranbrook
  THE ARCHITECTURE OF ENGAGEMENT: CIVIC ENGAGEMENT AND THE ARCHITECTURAL PROFESSION

  "As architects,we must be able to work comfortably,within an atmosphere of trust,with business people and policy makers, planning committees and community groups. We must acknowledge and celebrate participation in all walks of life,including alternative career paths,in order for the talents, skills,and vision of the architect to be recognized as crucial to the social and civic health of our communities and our nations. Architects ' skills as creative thinkers, problem solvers, planners, listeners, organizers, and implementors are valuable and needed within the public arena....."

  This year's ACSA/AIA Teachers' Seminar (Association of Collegiate Schools of Architecture; The American Institute of Architects) addresses leadership in the architectural community and is titled THE ARCHITECTURE OF ENGAGEMENT: CIVIC ENGAGEMENT AND THE ARCHITECTURAL PROFESSION. Program Co-Chairs are Harris Steinberg, Steinberg and Stevens Architects (representing AIA), and Maurice Cox, the University of Virginia. (representing ACSA)

  Participants will engage in a series of presentations, symposia, conversations, and workshops designed to broaden and deepen an understanding of the role of the architect in society. The aim of the seminar is to provoke consideration and discussion about leadership models for architects in the academy, the community, the political arena, and the business world.

  Confirmed Speakers include:

• James F. Barker, President, Clemson University - "Architects as Political Leaders"

• Ambassador Richard N. Swett - "Architects as Community Leaders"

• Stephen Vogel, Dean, University of Detroit Mercy School of Architecture - "Architects as Professional Leaders"

• Victoria Beach, Design Critic, Harvard Graduate School of Design

SARAH SKAGGS DANCE AT JACOB'S PILLOW

Sarah Skaggs Dance "brings high spirit to the Doris Duke Studio Theatre with an infectious energy and lively dancing. Get Out of the House! is set to the Chemical Brother's trip-hop music with dynamic choreography. Prelude for Salome gives Sarah Skaggs the opportunity to take center stage in a solo that Deborah Jowitt of The Village Voice calls 'terrific. Skaggs works at control, exact and exacting.' Meanwhile, The Shaker Dance, an excerpt from Higher Ground, merges traditional concert with club dance aesthetics"

Sarah Skaggs Dance merges formal concert dance with "club" or social dance, drawing on a range of traditional and contemporary influences in movement, music and visual media to create an audience-inclusive format for dance. Under the direction of dancer/choreographer Sarah Skaggs Dance, the Company is comprised of a diverse group of dancers and multimedia artists who, since 1991, have worked together to broaden the audience for modern dance.

The VILLAGE VOICE described a performance of GET OUT OF THE HOUSE -- on basketball court in Sara Delano Roosevelt Park while pickup games continued on an adjacent court -- in this way

"Crowds line the court, small children streak among the grown-ups, and I wonder why my eye keeps migrating to the hoop contest backgrounding the choreography. Probably because the athletes are improvising, alive to the moment and challenged by the unpredictable path of the ball, while the dancers are repeating a series of movements they've practiced for months. If you want to contemplate the relation of art to sport, this free event is the perfect laboratory."

In addition to dancer/choreographer Sarah Skaggs, core company members include dancer/choreographer Sarah Skaggs and dancers Jeremy Laverdure, Brittany Reese, Kathi McGowan, Eric Dunlap, and Jae Gruenke. Photographer/lighting designer Mary Gearhart, creates settings that incorporate visual elements unique to each community in which the Company performs. Nancy Westcott, the Company's multimedia designer, works with an array of slide, film and video images.

For more information about the performance, visit the JACOBS PILLOW website at http://www.jacobspillow.org

Elizabeth Zimmer
"Dance in the Shadow of Disaster
Ikuko's Wild Ride"
THE VILLAGE VOICE -- http://www.villagevoice.com/issues/0138/zimmer.php
September 19 - 25, 2001

SARAH SKAGGS DANCE -- http://www.sarahskaggsdance.org

"Combining movement that stems from a traditional base with innovative ways of designing a performance is the catalyst for much of her work. Liss Fain's literary investigations are often the impetus for the development of new work. Collaborations with visual designers and technologists have led to innovative projects that expand the choreographic and performance parameters of contemporary dance" - Liss Fain Dance

Haigood's work is centered on making dances that use natural, architectural and cultural environments as points of departure for movement and narrative exploration. Her work also integrates aerial choreography, offering audiences and performers new perspectives of the places and situations they inhabit." - Zaccho

"'Run For Your Life!' was the name which invariably provoked the response, 'Why, I've heard of you before!' (Our remaining five pages of names are available for rent or lease by other dance companies, rock bands, etc.) - Run For Your Life- it's a dance company!

Summerfest/dance presents WEST WAVE DANCE FESTIVAL 2002, a three week festival of performance works by 28 well-established and emerging West Coast choreographers.

Including:

Rapt Performance Group
Deborah Slater Dance Theater
KT Nelson
Amy Seiwert
AXIS Dance Company
Kate Weare
Paufve Dance
Della Davidson
Huckabay McAllister Dance
Michael Cole
Joanna Haigood
Maxine Moerman Dancetheatre
Carol Kueffer
Liss Fain Dance
Run For Your Life- it's a dance company!
EmSpace Dance
Heidi Schweiker and Melanie Elms
Martt Lawrence
Jose Navarrete and Debby Kajiyama
SHIFT>>>
Fellow Travelers Performance Group
Megan Nicely & Company
Nancy Karp + Dancers
Michael Kruzich
Lea Wolf
Facing East Dance & Music
Kunst-Stoff
Janice Garrett and Dancers

Box Office: 415-345-7575
Festival Events: 415-381-2195

Sources/resources:

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

LISS FAIN DANCE -- http://www.lissfaindance.org/

ZACCHO -- http://www.zaccho.org/director.htm

RUN FOR YOUR LIFE- IT'S A DANCE COMPANY! -- http://voices.best.vwh.net/info/history.html

A WEEK OF PUBLIC EVENTS CELEBRATE THE CULMINATION OF LIZ LERMAN DANCE EXCHANGE HALLELUJAH/USA PROJECT

"Community involvement is very much a part of Liz's work and speaks very much to the mission of the Clarice Smith Performing Arts Center, which focuses on creating opportunities for and crossing boundaries between performance, learning, and community" -- Susie Farr, Executive Director, the Clarice Smith Center

The Liz Lerman Dance Exchange celebrates the culmination of its three-year HALLELUJAH/USA project with a week of events in partnership with the Clarice Smith Performing Arts Center at Maryland. An initiative in art making and community participation developed by the Liz Lerman Dance Exchange, the project has asked 15 communities around the country to consider the question, "What are we in praise of?" -- in works which explore "the various ways we push through challenging times to find joy and peace."

The week-long events at the Clarice Smith Center on the campus of the University of Maryland will bring together previous community member participants from around the country, as well as company members of the Dance Exchange in a schedule which includes a Teen Institute Performance, and an interfaith gathering of religious leaders to discuss the ties between creativity and spirituality. Two programs featuring the Liz Lerman Dance Exchange, ORDINARY ANGELS and UNEASY DANCES, will conclude the program.

Hallelujah/USA has taken form as a series of performances, gatherings, and workshops, held over a three-year period in over 15 communities across the United States. Each performance included dance pieces created specifically for that community, which then become part of a performance in another community -- "bringing different stories and unusual collections of community members not usually affiliated with dance, together," the project notes.

"I think of Hallelujah as a beautiful necklace composed of many beads," says Liz Lerman. "Each community contributes beads to this necklace...the beads can be used again and again, and strung along in new patterns. Fishermen in Maine, dogs in Washington, DC, gospel singers in Detroit, have all participated in the Hallelujah project."

For more detailed information about Hallelujah/USA, contact the Clarice Smith Performing Arts Center Ticket Office at 301- 405ARTS or visit http://www.claricesmithcenter.umd.edu

LIZ LERMAN DANCE EXCHANGE -- http://www.danceexchange.org/

DOWNTOWN DANCE FESTIVAL 2002
BATTERY DANCE COMPANY'S 21ST ANNUAL CELEBRATION OF DANCE

"Celebrate Lower Manhattan's great dance companies in free outdoor performances under the London plane trees at Battery Park, with the Statue of Liberty and New York Harbor providing a welcoming backdrop, or in the elegant urban gathering spot of Chase Plaza."

A coalition of downtown-based dance companies have come together in the aftermath of 9/11, to play a coordinated role in enhancing and rebuilding the cultural life of their community. This coalition -- the Downtown Dance Partners - comprising Battery Dance Company, Chen & Dancers, and Chinese Folk Dance Company -- will make its first public appearances together as part of the 21ST ANNUAL DOWNTOWN DANCE FESTIVAL.

Joining them are their fellow downtown artists: Jane Goldberg, a seminal figure in the genre of tap dance; Dha Fuzion, a young group of multi-talented, multi-ethnic dancers and musicians, who teach in Tribeca; and the estimable Center for Traditional Music & Dance, whose offices are located in Tribeca.

The Downtown Dance Festival is one of a string of events taking place between mid-May and mid-September in the RIVER-TO-RIVER FESTIVAL. "These various events are unified in their aim to bring people back to Lower Manhattan and to bring culture and other amenities to those people who work and live here, who have suffered the trauma of the attack and the subsequent problems of dislocation, financial hardship and emotional distress," the Festival states.

Sources/resources:

DOWNTOWN DANCE FESTIVAL -- http://www.batterydanceco.com/calendar/EFS_DtownDF_0824_3002.asp
To find out more about the RIVER-TO-RIVER FESTIVAL and all of the range of cultural activities taking place in Lower Manhattan this summer, visit the Alliance for Downtown New York's Event site at http://www.downtownny.com/events_index.asp

BATTERY DANCE COMPANY -- http://www.batterydanceco.com

CHEN & DANCERS -- http://www.htchendance.org

CHINESE FOLK DANCE COMPANY -- http://www.chinesedance.org

The Handspring Foundation makes grants to non-profit organizations which focus on issues directly related to Children/Youth at Risk, including to organizations and programs specifically serving high-risk youth which solely utilize the arts.

Funding is also available for technical assistance/organizational effectiveness grants for organizations that focus on issues directly related to their target areas. Funds may be specifically requested for board or staff retreats, hiring staff or consultants, staff training or strategic planning.

Grants range from $1,000 to $25,000, with most grants averaging between $5,000 - $10,000. Deadlines for applications are August 1 and November 1, 2002. For more information, visit http://www.handspring.com/company/foundation

Handspring is a leading provider of handheld computing products.

Opportunities for Organizations and Individuals

Architecture for Humanity is a volunteer non-profit organization founded for the promotion of architectural and design solutions to global, social and humanitarian problems.

Their first venture, launched in 1999, was an international competition to design five-year transitional housing for Kosovo's returning refugees. On May 1st, they launched their second project, a design competition for a MOBILE HIV/AIDS HEALTH CLINIC FOR AFRICA.

Throughout Sub-Saharan Africa there is a desperate need for medical relief operations to counteract the AIDS crisis, but one of the major factors inhibiting medical professionals from treating this disease is the inability to access the vast areas of the continent with an adequately equipped facility.

"The goal of this project is to create a fully equipped mobile unit and HIV/AIDS treatment center to be used by medical professionals throughout the African continent. In addition to testing, prevention and treatment, this easily transportable unit will disseminate information regarding the virus and provide basic healthcare services. It must house and be operable and transportable by doctors and nurses in the field," Architecture for Humanity explains.

A detailed set of design criteria has been developed by a global team of medical, relief and design experts from their advisory board. For complete details, visit http://www.architectureforhumanity.org/

Opportunities for Individuals

A new award, the Distinguished Lifetime Achievement Award for Writing on Art, has been approved by The Board of Directors of The College Art Association. (CAA)

Encompassing art criticism, art history, art biography, and/or art theory, the award celebrates the career of an author of note who is a citizen or permanent resident of the United States, its territories, Canada, or Mexico.

For more information, including how to nominate individuals for CAA Awards for distinction, visit the College Art Association website at http://www.collegeart.org

The American Music Education Initiative (AMEI) of the National Music Foundation is designed to identify, recognize and support the creative educational accomplishments of teachers who use American music in the classroom.

"By celebrating the work of these teachers and sharing their award winning lessons on-line, we hope to encourage the teaching of American music in schools throughout the country," they state.

AMEI invite teachers everywhere to send them examples of their lessons which use American music. The lessons can be for any subject, in any grade K-12, and they can use any type of American music.

The Lessons will be submitted to a panel of judges who will select a limited number of Finalists, Semi-finalists and Honorable Mention lessons. Teachers whose lessons are selected as Finalists and Semi-finalists will receive grants of five hundred dollars. All selected lessons will be published on their web site http://www.usamusic.org where they remain available for other teachers to use or adapt. The originating teachers retain full credit of authorship and ownership of the lessons.

Applications for AMEI 2002 must be received by September 16, 2002.

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

Opportunities for Artists

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 jmalloy@nyfa.org

Deadline: July 10, 2002, Film, video, interactive writing, PARIS/BERLIN INTERNATIONAL MEETINGS

Deadline: for Events in late August, Trans- or genderqueer identified performers or video/filmmakers, Trans/Formation - TWO NIGHTS OF TRANSGENDER AND TRANSGENRE PERFORMANCE AND VIDEO, Highways Performance Space, Santa Monica, CA

Deadline: August 1, 2002, Composers with knowledge of visual art, CONTINENTAL HARMONY, project in Long Beach, CA

Deadline: August 3, 2002, New musical works by emerging composers, composer/performers, improvisers, and sound artists - projects with New York or Minesota connections, COMPOSERS COMMISSIONING PROGRAM, American Composers Forum

Deadline: September 1, 2002, Visual Artists within a 100 mile radius of Philadelphia, CREATIVE ARTISTS NETWORK - service organization affiliation

Deadline: September 1, 2002, Conceptual video, film and animated works under 10 minutes, SMALL + UGLY, Baltimore, MD

Deadline: September 16, 2002, Emerging visual artists - Career management and professional development, BRONX MUSEUM OF THE ARTS' ARTIST IN THE MARKETPLACE (AIM) PROGRAM, Bronx, NY

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@nyfa.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.

ORCHESTRA MANAGER, Greater Boston Youth Symphony Orchestras, (Boston, MA)

DANCE DIRECTOR, (ballet school and youth performing company) (New York City, NY)

DIRECTOR OF CHAMBER MUSIC, InterSchool Orchestras of New York, (New York City, NY)

MANAGING DIRECTOR, Manhattan Ensemble Theater, (New York City, NY)

GENERAL MANAGER, Arts Live Theatre, (Fayetteville, AR)

PROGRAM DIRECTOR, (half-time) Cambridge Performance Project, (Cambridge, MA)

COORDINATOR OF CHORAL PROGRAMS, Brooklyn Conservatory of Music, (Brooklyn, NY)

ADMINISTRATIVE DIRECTOR OF SPECIAL PROGRAMS, Tisch School of the Arts, New York University (New York City, NY)

DIRECTOR OF ARTS EDUCATION PROGRAMS, Appel Farm Arts & Music Center, (Elmer, NJ)

ARCHITECT, Ace Gallery, (Los Angeles, CA)

HEAD PREPARATOR, Ace Gallery, (Los Angeles, CA)

ASSOCIATE DIRECTOR, SALES, Ace Gallery Los Angeles / New York

ASSISTANT EDUCATION DIRECTOR, (20 hours/weeek) (arts education organization) (Brooklyn, NY)

ASSISTANT DIRECTOR FOR PRODUCTION SERVICES, Frostburg State University, (Frostburg, MD)

SCULPTURE TECHNICIAN, Parsons School of Design, (New York City, NY)

FACILITY PLANNING SPECIALIST, (temporary) For New Asian project, Asian Art Museum, (San Francisco, CA)

REGISTRAR, (Brooklyn location) Brooklyn Conservatory of Music, (Brooklyn, NY)

REGISTRAR, (Queens location) Brooklyn Conservatory of Music, (Flushing, NY)

MEMBERSHIP COORDINATOR, New-York Historical Society, (New York City, NY)

BALLET/JAZZ INSTRUCTOR, The Center of Contemporary Arts (COCA) (University City, MO)

BELLY DANCE INSTRUCTOR, ADULT DRAMA INSTRUCTOR, BALLROOM DANCE INSTRUCTOR, Jamaica Center for Arts & Learning, (Jamaica, NY)

POTENTIAL JOBS AS TEACHING ARTIST, Project PLAY, (New York City, NY)

MEETING PLANNER, OPERA America, (Washington, DC)

DEVELOPMENT MANAGER, Horizon Theatre, (Atlanta, GA)

DEVELOPMENT MANAGER FOR INSTITUTIONAL GIVING, Lower Manhattan Cultural Council, (New York City, NY)

DEVELOPMENT MANAGER FOR INDIVIDUAL GIVING AND SPECIAL EVENTS, Lower Manhattan Cultural Council, (New York, NY)

PUBLIC RELATIONS MANAGER, New World Symphony, (Miami Beach, FL)

P.O.V. COMMUNICATIONS COORDINATOR, P.O.V., (New York, NY)

MARKETING MANAGER, New World Symphony, (Miami Beach, FL)

MANAGER OF PR AND MARKETING, The Choral Arts Society of Washington, (Washington, DC)

DIRECTOR OF MARKETING AND PUBLIC RELATIONS, New Haven Symphony Orchestra, (New Haven, CT)

DEVELOPMENT ASSOCIATE, Arts at St. Ann's, (Brooklyn, NY)

RESOURCE DEVELOPMENT ASSOCIATE, OPERA America, (Washington, DC)

ADMINISTRATIVE ASSOCIATE - (part-time) Herb Lubalin Study Center of Design and Typography, The Cooper Union School of Art, (New York City, NY)

GALLERY ATTENDANT, Snug Harbor Cultural Center, (Staten Island, NY)

OFFICE MANAGER, Vox Femina Los Angeles, (Culver City, CA)

EXECUTIVE/ADMINISTRATIVE ASSISTANT, InterSchool Orchestras of New York, (New York City, NY)

OFFICE/ BUSINESS MANAGER, (performing arts pr) (New York City, NY)

BOX OFFICE MANAGER, New World Symphony, (Miami Beach, FL)

SALESPERSON/BOOKING AGENT, Black Box Entertainment, (New York/New Jersey area)

INTERNS, 52nd Street Project, (New York City, NY)

INTERNSHIPS, Kouros Gallery, (New York City, NY)

VOLUNTEER ARTISTS, (Sidewalk Chalking fundraising event) (New York City)

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

The City of Paris, in collaboration with The Lower Manhattan Cultural Council and with the support of the Cultural Services of the French Embassy in New York, has created a special six-month residency in Paris, France to help mitigate the effects of the events of September 11 on New York's artistic community.

A jury selected the three artists from a list of 125 proposals based primarily in the visual arts, photography, and film/video, but also in music and multimedia. The three New York artists who have been chosen to receive this honor are Yasser Aggour, Patty Chang, and Jennie C. Jones. The residency includes a live-work space at the Cit Internationale des Arts and a monthly stipend. It will culminate in a public exhibition.

Based in New York, the Cultural Services of the French Embassy has affiliate offices in Atlanta, Boston, Chicago, Houston, New Orleans, Los Angeles, Miami, and San Francisco. Their mission is "to offer to the American public the opportunity to explore, experience and benefit from the vast and evolving world of French culture."

Sources/resources:

LA VILLE DE PARIS -- http://www.paris-france.org

CULTURAL SERVICES OF THE FRENCH EMBASSY -- http://www.frenchculture.org

LOWER MANHATTAN CULTURAL COUNCIL -- http://www.lmcc.net