INCLUSIVITY All are welcome - A LOOK AT RURAL PRESENTING WHEN EDI DRIVES THE MISSION - Association of Performing Arts Professionals
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FALL 2018
All are
INCLUSIVITY welcome.
A LOOK AT RURAL
PRESENTING
WHEN EDI DRIVES
THE MISSION
FOUR GENERATIONS OF
WOMEN WITH VISION
TONYStandards
DANZA & Stories
In this hit traveling show, the iconic
Tony Danza, accompanied by his four-
piece band, performs a selection of his
favorite songs while interweaving stories
about his life and personal connection
to the music. Combining timeless music
with wit, charm, storytelling, and a dash
of soft shoe and ukulele performances,
the show has entertained audiences
across the country.
This fall, Danza will also make his
highly anticipated return to television,
starring alongside Josh Groban in
The Good Cop, premiering Sep. 21
on Netflix.
“Tony’s a LIVE WIRE who
tap-dances, plays the ukulele,
tells stories and radiates
irresistible charm!”
— The New York Times
LoveProductions.com • (212) 714-9197 • info@loveproductions.com
Meet us at:
Western Arts Alliance Conference, Aug 27-30, Las Vegas, NV— BOOTHS # 605 & 607
Arts Midwest Conference, Sep 5-8, Indianapolis, IN — BOOTHS # 704 & 706
International Entertainment Buyers Association, Sep 30-Oct 2, Nashville, TN — Agents Alley
REPRESENTED BY KMP ARTISTS
kmpartists.com #kmpartists
2 INSIDE ARTS FALL 2018
626 102
E-MAIL | info@kmpartists.com
CONTACT NO. | +1.512.888.9895 WAA AMW
ADDRESS | 111 Congress Avenue EXHIBITOR # EXHIBITOR #
#400 Austin, TX 78701 USA
FALL 2018 INSIDE ARTS 3
R A G A M A L A D A N C E C O M PA N Y
Ranee Ramaswamy and Aparna Ramaswamy, Artistic Directors
2018-19 PERFORMANCE CALENDAR
The Kennedy Center Hopkins Center Middlebury Performing Arts
Washington, DC Hanover, NH Middlebury, VT
Harris Theater Myles Reif PAC Fox Cities PAC
Chicago, IL Grand Rapids, MN Appleton, WI
Texas Performing Arts Walton Arts Center The O’Shaughnessy
Austin, TX Fayetteville, AR St. Paul, MN
“Some of the most
transcendent experiences
ơǤdz
– The New York Times
Written in Water; Photo by Bruce Palmer
w w w . r a g a m a l a d a n c e . o r g
Laura Colby, President Visit Elsie Management at the fall conferences:
718-797-4577 WAA AMW PAE
www.elsieman.org Café Table Top #421 Booth #419 Booth #307
VOLUME 31, NUMBER 4
FALL 2018
FEATURES 34 CHAIRING DEPARTMENTS
18 SURVIVAL SKILLS US FORWARD 7 FROM THE PRESIDENT
Rural America is often isolated Ever wonder how APAP|NYC
by resources and access to gets planned? Meet the 8 VOICE
arts. We look at the role of arts conference co-chairs and
leaders in both rural and urban learn about their ambitions for Wolf Trap’s Pavilion Cup,
communities to bridge the gap. your conference experience. an award that helps plays
develop, music-making at
BY ALICIA ANSTEAD
BY LINDA L. NELSON MIT, and much more.
26 PROACTIVE PRESENTING 40 GIRLS WITH DREAMS. 12 TRANSITIONS
A mission-driven approach WOMEN WITH VISIONS. News from the industry.
to programming, including Four generations of women
“radical hospitality,” opens reflect on their roles in the arts. 14 FOLLOW SPOT
the door for engaged equity, AS TOLD TO ALICIA ANSTEAD
diversity and inclusion. A rural Vermont arts
organization builds
BY JAKE STEPANSKY community and audiences
through storytelling.
“Our primary concern is what are we 48 ADO
The regionals are coming!
bringing to the community and how
are we changing it for the better THIS PAGE: Terri Lyne Carrington
through our programming mission.” at the drums. Related story page 40.
COVER: The Singing Bois. Related story
— SURVIVAL SKILLS, PAGE 18 page 26.
the p
u rple
bo oth
INSIDE ARTS
THE MAGAZINE OF THE ASSOCIATION OF PERFORMING ARTS PROFESSIONALS
EDITOR
ALICIA ANSTEAD
ASSISTANT EDITOR
KRISTEN ANDRESEN
COPY EDITOR
SUZANNE G. FOX
6+2:&$6( -$UWV0:3$( DIRECTOR OF MARKETING
AND COMMUNICATIONS
JENNY THOMAS
e EDITORIAL AND CIRCULATION OFFICES
cas -DPHV*DUQHU·V /LO\&DL
how
919 19TH ST NW, SUITE 650, WASHINGTON, DC 20006
S -RKQQ\ Chinese PH: 202.833.2787 / FAX: 202.833.1543
PUBLISHER
Cash Dance TODAY MEDIA CUSTOM COMMUNICATIONS
Tribute ADVERTISING SALES MANAGER
KRISTEN COOPER
kristen.cooper@todaymediacustom.com
PRESIDENT & CEO
$UWV0: MARIO GARCIA DURHAM
Thurs. 9/6 Cultural. Captivating. BOARD OF DIRECTORS
SP WKDQQLYHUVDU\ 5HG7\SKRRQ KAREN A. FISCHER (Chair), Pasifika Artists Network,
*UDQG%DOOURRP :RPHQ WKH&XOWXUDO5HYROXWLRQ LLC
LAURA COLBY (Vice Chair), Elsie Management
JEAN COOK (Vice Chair), Musician
1(: 1 (: */$66 lands GWETHALYN BRONNER (Secretary), James Lumber
Center for the Performing Arts, College of Lake County
Printz Dance JENNIFER JOHNSON (Treasurer), Arts Commons
ALICIA ADAMS, The John F. Kennedy Center for the
Performing Arts
LULANI ARQUETTE, Native Arts and Cultures
Foundations
MICHAEL BLACHLY, Opening Nights at Florida State
University
DIANNE BRACE, National Public Radio
EDDIE COTA, Champion City
w/ Laura Ellis MARIO GARCIA DURHAM (Ex-officio), APAP
7KHVRQJV\RXKDWHWRORYH Connections vs. our devices. BETH MACMILLAN, Artown
RENAE WILLIAMS NILES, USC Kaufman School of
Dance
+29(563$&( MICHAEL REED, ASU Gammage
DANIEL BERNARD ROUMAIN, Composer/Violinist/
Educator
FRANCINE SHEFFIELD, Sheffield Global Arts
Management
TERRI M. TROTTER, Midland Center for the Arts
TOBY TUMARKIN, IMG Artists
TODD WETZEL, Purdue Convocations
VVVRQJGDQFH5RFN 5ROO Printz Dance Project
Calidanza Mexican Dance/Music
Printz Dance Project -
723%5$66
Crash Dance, Soul+Mates
3DFLÀF&RDVW+RUQV%UDVV/Song APAP is a national service and advocacy organization with nearly
1,600 members worldwide dedicated to bringing artists and
Laura Ellis in Femme Fatale audiences together. Leading the field, APAP works to effect change
Cinema Sweethearts through professional development, resource sharing and civic
Jazz in the Shadows engagement.
INSIDE ARTS (ISSN 1069-2029) is available through APAP
Travelin’ Tunes - American Folk membership and by subscription. Copyright ©2018, Association of
Celtic music/song - Performing Arts Professionals. All rights reserved. Reproduction in
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6 INSIDE ARTS FALL 2018
FROM THE PRESIDENT The Manganiyar Seduction
(and thrives), how artists and
audiences engage, and who can
provide expertise.
Second, we must come to
a deeper understanding and Afro-Cuban All Stars
practice of true leadership so
that we as arts professionals and
arts organizations can be at the
forefront of equity, diversity and
inclusion. We must hold firmly to
these values.
To that end, in this issue we Ndlovu Youth Choir
explore the unique challenges and
opportunities of presenting in
A
s we enter the fall, we face
rural America. We share how two
increasingly uncertain
arts leaders partnered in taking a
times in political and
chance and found inclusion and
social spheres. As I write this
community in their own backyard.
in the early days of summer,
And finally, we ask four women
it’s hard for me to fathom the
in the arts representing four
rapidness with which our country
generations of arts professionals • Canzoniere Grecanico Salentino
is changing. What will the
(in funding, performance, • Dakh Daughters
headlines be when you read this • DakhaBrakha
education and artist management)
issue of Inside Arts magazine in • Explosion Negra
to share insights about their
early autumn? And how will our • Hermeto Pascoal
experiences as women in the field.
field be increasingly engaged • Huun Huur Tu
We hope you find inspiration
in national and international • Karsh Kale
and fortitude in these stories. • La Bottine Souriante
dialogues?
These are the narratives that keep • Mohsen Namjoo
No one can predict the
us close and connected. Without • Nachito Herrera
future. What I know for certain,
however, is that we have work to
our stories, without taking the • Novalima
do. Let us stop yet again and ask
time to listen to one another, • Oumou Sangaré
we would not be the fierce • Paris Combo
anew: What is the role of arts in
community we are today. We must • Quetzal
these times?
never let anything threaten that. • Riyaaz Qawwali
My answer is two-fold, and • The Mystery of Bulgarian Voices
In other words, we must not
this issue of Inside Arts reflects • Yossi Fine & Ben Aylon
give up.
these ideas.
First, we must be responsive.
That means listening to each
ADAM KISSICK/APAP
other, listening to all points
of view and putting aside
assumptions about where art lives Mario Garcia Durham, PRESIDENT & CEO
IN THE NEXT ISSUE
Discover the featured speakers at APAP|NYC 2019!
A guide to networking at large convenings riotartists.com
VWDƪ#ULRWDUWLVWVFRP
A sneak peek at JanArtsNYC
(650) 595.2274
FALL 2018 INSIDE ARTS 7
VO!CE
I’ll Drink
to That
YOKO ONO ONCE SAID, “Every social media channels. They’ve stands feature locally-sourced food
drop in the ocean counts.” even been popping up in places and beverages, including Wolf Trap
At Wolf Trap, the same could outside Wolf Trap: parks, gyms Summer Ales from the nearby
be said of every drop in the cup and fitness facilities, Metro, Caboose Brewery. In addition, Wolf
— the Pavilion Cup, that is. The virtually everywhere people enjoy Trap has a bee-keeping program,
Virginia-based presenter, located beverages. It’s a great to raise Wolf and has created shade and butterfly
near Washington, D.C., is the Trap’s visibility and its good for the gardens and trails that wind over and
country’s only national park for the environment.” around creeks and a turtle pond.
performing arts. In keeping with its Picnics are a big part of the “Being located in a National
mission, Wolf Trap introduced the Wolf Trap experience, but until last Park, Wolf Trap is always mindful
reusable drinking vessel last summer summer, ticket buyers seated inside about preserving our pristine
in an effort to be more ecologically the covered portion of the venue natural surroundings,” the
friendly. To say they were a success could bring only water to drink. spokesperson says. “Wolf Trap is
would be an understatement. With a Pavilion Cup, they can bring about experiencing more than just a
Patrons bought more than 40,000 along any beverage. concert. It’s a natural oasis in which
cups in the 2017 season. Though the cups are a small to escape the business of urban life
“People love them,” said a change, they’re part of a much larger and to enjoy the performing arts
Wolf Trap spokesperson. “We commitment to sustainability at surrounded by nature and making
see photos of them across all our the park. Wolf Trap’s concession memories.”
8 INSIDE ARTS FALL 2018EXTENDING THE RUN Greg Mozzgala and Rebecca Naomi
What happens when creative Jones in Cost of Living, Williamstown
minds have a little extra time to get Theatre Festival
a play off the ground? Sometimes,
it makes the difference between a
one-night stand and a Broadway hit.
A line in a weekly events calendar
and the Pulitzer Prize for Drama. A
production that nobody’s ever heard
of and, well, Hamilton.
To that end, Theatre
Communications Group has
announced the recipients of the
first round of the 2018 Edgerton
Foundation New Play Awards. The
awards, totaling $263,000, allow
nine productions extra time for
development and rehearsal with the
entire creative team in the hope of
Katy Sullivan and
extending the life of the play after its Wendell Pierce in
first run. Cost of Living
Over the last 12 years, the
Edgerton Foundation has awarded
$11,896,900 to 393 productions. Of
these, 30 have made it to Broadway
— including the Tony Award-
winning Hamilton, Dear Evan
Hansen and Oslo — and 10 were
nominated for the Pulitzer Prize for
Drama, including the 2018 winner,
Cost of Living.
“The Edgerton Foundation New
Play Awards shape the best work
being made in the American theater,
and there is no greater evidence
than the national and international
impact their support is having. We
can draw a hard, strong line from into the world with greater artistic Theatre; Gertrude and Claudius by
the support Edgerton gave us at resources as a result of Edgerton’s Mark St. Germain (adapted from a
Williamstown Theatre Festival for visionary leadership in the field of novel by John Updike) at Orlando
the world premiere of Martyna’s new work.” The first round of the Shakespeare Theater; Rightlynd
Majok’s Cost of Living to the Pulitzer 2018 Edgerton Foundation New by Ike Holter at Victory Gardens
Prize for Drama it was awarded this Play Awards were presented to: Theater; Lempicka, book and
year,” says Mandy Greenfield, artistic Quack by Eliza Clark at Center lyrics by Carson Kreitzer, music
director of Williamstown Theatre Theatre Group; The Engagement by Matt Gould, at Williamstown
Festival. “We are profoundly grateful Party by Samuel Baum at Hartford Theatre Festival; The Sound Inside
for their continued support this Stage; The Wickhams: Christmas by Adam Rapp at Williamstown
season and are honored to have three at Pemberley by Lauren Gunderson Theatre Festival; and Artney
of our world premiere productions, and Margot Melcon at Marin Jackson by James Anthony Tyler at
DANIEL RADER
by brilliant, unique and wildly Theatre Company; Landladies by Williamstown Theatre Festival. For
diverse storytellers, making their way Sharyn Rothstein at Northlight more information, visit tcg.org.
FALL 2018 INSIDE ARTS 9VO!CE
The Legendary
Ingramettes
TOUR DE FOLK in-depth explorations of various communities underserved by the
Mid Atlantic Arts Foundation cultures to our rural Appalachian arts. MAAF has received funding
has created the Folk and Traditional audience,” said Lynn Creamer of from the National Endowment for
Arts Touring Network, a presenter- Carnegie Hall in West Virginia. the Arts for the venture and has
based membership network designed Starting in fall 2018, new members partnered with the National Council
to bolster the presentation of folk will be selected annually through for the Traditional Arts to facilitate
and traditional arts in the region an open, competitive selection collaborative planning between
through public performances and process. Mid-Atlantic region FTAN members and touring artists
multi-day community residencies. nonprofit presenters are eligible and tradition bearers. NCTA also
For the pilot program, applications to participate in the program. The will provide administrative tour
were accepted by invitation only, and network prioritizes participation by support. For more information, visit
include: Augusta Heritage Center at presenters that work in and with midatlanticarts.org.
David Elkins College, Elkins, West
Virginia.; Carnegie Hall, Lewisburg,
West Virginia; Creative Alliance,
Baltimore, Maryland; Flushing
Town Hall, Flushing, New York;
MICHAEL G. STEWART; COURTESY OF ARTIST; MIT SLOAN
Lake Placid Center for the Arts, Lake
Placid, New York; Miller Center for
the Arts at Reading Area Community
College, Reading, Pennsylvania;
Salisbury University Cultural Affairs,
Salisbury, Maryland; and Troy
Savings Bank Music Hall, Troy, New
York. “Through our involvement with
Tamburaški Sastav Pono
the FTAN we will be able provide
10 INSIDE ARTS FALL 2018Students at the MIT Sloan
School of Management
PASIFIKA ARTISTS NETWORK
Karen A. Fischer; +1 (808) 283-7007
karen@pasifika-artists.com
PACIFIC ROOTS
ISLAND CONTEMPORARY
HENRY KAPONO
KALANI PE‘A
PAULA FUGA
RAIATEA HELM
KAUMAKAIWA
TE VAKA KANAKA‘OLE
N
EW
AOTEAROA’S FINEST:
THE SOUND OF LEADERSHIP RIKA-HORO-HAAPU-
KINGI
It’s a familiar scene for musicians — acquaintances with a shared passion
WAA SHOWCASE
get together and hash out a new song in one session. But for MBA students? AUGUST 28 & 29
Not so much. For a group of aspiring leaders at the MIT Sloan School of
Management, the challenge held valuable lessons in teamwork. “Through GUITAR & ‘UKULELE
music-making, they create a sense of community and a sense of teams, and
GEORGE KAHUMOKU JR.
through teams, this leadership practice,” says Abby Berenson, associate
& MASTERS HAWAIIAN
director of the MIT Leadership Center. The Music Making as Effective MUSIC
Teaming Tool workshop was created with Found Sound Nation, a New LED KAAPANA
York-based nonprofit that “uses collaborative sound-making as a tool to MAKANA
help enhance communities and build bonds,” according to MIT. For more KEOLA BEAMER &
OWANA SALAZAR
JEFF PETERSON
information, visit mitsloan.mit.edu/newsroom. WAIPUNA ARTS NW SHOWCASE
OCT 8
DANCE
N
EW
HALAU HULA KA
NO‘EAU
HALAU O KEKUHI
OKAREKA DANCE
IN MANA WAHINE
TAIKO
Actors Ron Bohmer
and Sandra Joseph
from The Phantom of
the Opera
KENNY ENDO
CONVERSATION PIECES SPOKEN WORD
Cennarium, a streaming service for theatrical productions, has introduced KATHY YOGI COLLINS
Cennarium Conversations. This free video series features interviews with
performing arts leaders including Sandra Joseph, whose run as Christine Daaé
in The Phantom of the Opera spanned 10 years and more than 1,300 KEALOHA
performances. The first installment features Joseph and her husband, actor Ron WAA #408 ~ ARTS MIDWEST #334A
Bohmer, who played the Phantom in the touring show. For information, visit ARTS NW #23A
Cennarium.com. @8 WWW.PASIFIKA-ARTISTS .COM
for complete roster
FALL 2018 INSIDE ARTS 11VO!CE
Transitions
I could help establish an educational the course of his 30-year career, Yockey
outreach program in Houston that has has held leadership roles at Lone Star
enriched the lives of people of all ages, Performing Arts Association in Galveston,
SARA C. ethnicities, religions and socioeconomic Texas; Casa Mañana Theater in Fort
NASH is the backgrounds through the performing Worth, Texas; and Starlight Theatre in
new director arts.” Christensen is a member of Kansas City, Missouri.
of dance for the Association of Performing Arts
the National Professionals, Dance USA, Southwest APAP Leadership Fellow LEAH KEITH
Endowment for Performing Arts Presenters, the Midwest has joined Columbia Artists’ team of
the Arts. She Arts Alliance and the Broadway League. booking agents. She will represent the
comes to the She currently serves on the Houston agency’s roster of artists and attractions
NEA from the Theater District with performing arts centers, symphony
New England Board and orchestras, concert halls and promoters
Sara C. Nash
Foundation for Friends of the in 11 states in the Midwest and East Coast
the Arts, where she served as program High School for regions, including Iowa, Kansas, Maryland,
director for dance, overseeing the NEFA the Performing Minnesota, Nebraska, North Dakota,
National Dance Project, among other and Visual Arts Oklahoma, Pennsylvania, South Dakota,
endeavors. She brings to the role more Board. Her Virginia and West Virginia. She brings to
than 16 years of national and international career in the the role more than 15 years of experience
experience in the dance field as a funder, arts began with in performing
producer and project director. Prior to Houston Grand arts booking,
working at NEFA, Nash managed the June Christensen Opera in 1986. producing,
USArtists International grant program marketing and
at Mid Atlantic Arts Foundation. She also DENTON YOCKEY has been appointed fundraising,
worked as senior producer at Dance professor of arts administration and head outreach and
Theater Workshop (New York Live Arts) of the Division of Theatre Arts, Production performance.
for more than six years, where she and Arts Administration at College- Prior to joining
oversaw the international program, the Conservatory of Music in Cincinnati, Columbia
Suitcase Fund, and developed residency Ohio. Yockey will oversee departments of Artists, she
programs for commissioned artists. Her acting, arts administration, dance, musical Leah Keith launched
international experience includes working theater, opera, and theater design and Rhythm of
at Tanec Praha, a contemporary dance production. He also will serve as producer the Arts, where she developed Tablao
festival in Prague, and at the British of CCM’s Flamenco and Mexico Beyond Mariachi,
Council in London. She replaces Douglas Mainstage and which will be added to Columbia Artists’
Sonntag, who retired in March 2017. Studio Series touring roster. She previously worked as
productions. a manager of artists and attractions at
JUNE CHRISTENSEN, longtime president Yockey is known Opus 3 Artists, focusing on world music
and CEO of Houston’s Society of the as a premier and dance, and also served as that
Performing Arts, will retire at the end regional theater agency’s northeast booking agent for
of 2018. Christensen joined SPA in 1989 producer and nearly five years. Keith began her career
and previously served as its director of presenter as a flamenco dancer in Flamenco Vivo
programming and operations before of touring Carlota Santana and serves on the WAA
being promoted to her current position Denton Yockey Broadway. He Conexiones committee.
in 2007. The SPA board plans to conduct comes to CCM
a national search for her successor. “This from the Thrasher-Horne Center at St. S. SHARIQ YOSUFZAI, a vice chair of
job, or more accurately, this calling, has Johns River State College in Orange Park, Cal Performances’ Board of Trustees,
been the dream of a lifetime, offering Florida, where he served as executive has been appointed interim executive
the extraordinary opportunity to witness director. He is also a principal with A director of Cal Performances at the
Houston’s evolving diversity, and then Rising Tide Theatrical Group, which University of California Berkeley. He
curate art from all over the world to bring independently produces theatrical succeeds Matías Tarnopolsky, who
diversity home to the performance stage,” entertainment and national tours while will become president and CEO of the
says Christensen. “I’m also gratified that providing counsel for other projects. Over Philadelphia Orchestra. ROB BAILIS,
12 INSIDE ARTS FALL 2018Cal Performances associate director, led to Schreiber’s eventual role as Dow established her own artist booking
will serve as interim artistic director. president of Festival Productions. In agency in 2004 and brings 30 years of
Yosufzai served on the board since July 2002, Schreiber won a Tony Award experience in arts management to the
2014, as vice chair since July 2016. He as lead producer of At Liberty, Elaine role. She also is an amateur musician.
also serves as president of the board Stritch’s one-woman Broadway show, “Her deep industry experience and her
of directors of the Berkeley Symphony and in 2004 he won an Emmy Award driving-force personality will expand
and as an executive committee for executive producing the HBO our reputation for excellence,” said Reif
member of the documentary film based on it. He has board chair Ben Edwards. “This is not
San Francisco served as the NJPAC CEO since 2011. only about entertainment it is about
Opera board economic growth in the region and
of directors. Pianist TOSHIKO AKIYOSHI will be education beyond the classroom. Shantel
He previously honored with the BNY Mellon Jazz is a business woman, performer and
served on 2018 Living Legacy Award in a special educator, all essential elements to lead us
the board of ceremony at the John F. Kennedy forward.” Dow
directors and Center for the Performing Arts in is chair of the
was chair of October. The award is a program of Arts Midwest
the corporate Mid Atlantic Arts Foundation and is Conference,
S. Shariq Yosufzai council of sponsored by BNY Mellon. It honors a regional
Houston Grand living jazz masters from the mid- performing
Opera. In March, Yosufzai retired from Atlantic region who have achieved arts booking
the Chevron Corp., where he served distinction in jazz performance and conference,
as vice president of global diversity, a education. Akiyoshi is a Japanese jazz and executive
position he held since 2013, and in which composer/ director of
he was responsible in part for Chevron’s arranger, Shantel Dow Chariton Iowa
relationship with UC Berkeley. Over the bandleader Chamber of
course of his and pianist. Her Commerce. In addition, she works in
distinguished work has been the local school district as a substitute
43-year career performed teacher and had previous leadership
at Chevron, by the North positions with Dallas Brass in Garland,
Yosufzai has Carolina Texas, and Greater Twin Cities Youth
had significant Symphony Symphonies in St. Paul. Dow will
experience Orchestra, succeed David Marty, who retired in
in board Toshiko Akiyoshi Hawaii July after more than two decades of
membership, Symphony leading The Reif.
leadership Orchestra and Portland Symphony. She
Rob Bailis and in senior is a 2007 National Endowment for the The New England Foundation for the Arts
executive Arts Jazz Master and her recordings has announced 2018 awardees of the
roles at publicly traded companies. He have received a total of 14 Grammy Rebecca Blunk Fund. Each of the three
served as president of several Chevron Award nominations. Previous BNY recipients will receive an award of
global businesses and oversaw large, Mellon Living Legacy Award winners $3,000 in unrestricted support for the
multinational operating companies in include Odean Pope, Ron Carter, Gary creation of new work and for professional
global markets including Asia, North Bartz, Joanne Brackeen, Nathan Davis, development; the awardees are: TOTO
America, Central and South America, Muhal Richard Abrams, Phil Woods, KISAKU, an award-winning Congolese
Africa, Europe and the Middle East. Roy Haynes, Dr. Frank Foster, Kenny playwright, actor, director, and producer
Barron, Benny Golson, Oliver Lake, who lives in New Haven, Connecticut;
Montclair State University bestowed Rufus Reid, Randy Weston, Keter Betts, MARGARET JACOBS, a jewelry maker
an honorary doctor of fine arts Jimmy Heath, Joe Kennedy, Jr., Shirley and sculptor residing from Enfield, New
degree on New Jersey Performing Scott, Reggie Workman, Dr. Donald Hampshire; and ARIEN WILKERSON, a
Arts Center president and CEO JOHN Byrd, Larry Ridley, Barry Harris, Robert choreographer, movement, video, and
SCHREIBER in May. Schreiber began “Boysie” Lowery and Clark Terry. installation artist from Hartford,
his education at Haverford College Connecticut. The fund, named in
but left before graduating to work with The Myles Reif Performing Arts Center memory of Rebecca Blunk celebrates
producer George Wein on the Newport board in Grand Rapids, Minn., has named her 29 years of service to NEFA and her
Jazz Festival and other projects. This SHANTEL DOW as its executive director. abiding passion for the arts. @8
FALL 2018 INSIDE ARTS 13VO!CE
Follow Spot: NARRATIVE THREAD
A rural Vermont arts director. “The town was reeling from on the second story of the church,
organization builds the devastation and everyone came and it was not accessible at the
community, audiences together to do a benefit fundraiser to time. Rather than wait for the
through storytelling. rebuild the general store.” renovations to be complete, Basescu
That benefit, a talent show and her colleagues partnered with
BY KRISTEN ANDRESEN that included everyone from area the local historical society and
college students to local farmers to started programming in the space
T
o understand the future of artists of every stripe, took place right away — raising money and
Next Stage Arts, it helps to in a former church in the heart of engagement simultaneously.
understand the past. downtown. And while the initial That strategy paid off. They
Next Stage, a multidisciplinary fundraiser was for the store, it ended up with more than $2
arts center in the town of Putney, sparked interest in breathing new million to renovate the space,
Vermont (population less than life into a second building, as well. a large portion of which came
3,000), is a phoenix of sorts. It rose “We discovered there was from local residents. The project
from the ashes (literally) of a fire a real appetite and desire for received funding from ArtPlace
that destroyed the town’s beloved both a community center and America. Nearby landowners
general store and (figuratively) of a performing arts center in this harvested and donated timber
the 2008 economic downturn. space,” Basescu says. from their land to provide lumber
“The genesis for Next Stage was While the desire was there, for the project.
REBEKAH WILLEY
about the community pulling itself the space wasn’t exactly ready The transformed venue reopened
together and reviving,” says Maria for its close-up. For starters, the in 2016 with a home-grown roster
Basescu, Next Stage executive performance venue was located of presenting partners.
14 INSIDE ARTS FALL 2018“I was very moved by the
generosity and the engagement
“I wanted to know of that at the individual level and
the community-building level was
of the community in all of these more: Who are greater than any of us anticipated.”
efforts,” Basescu says. “I wanted to these people? It was so powerful that a
know more: Who are these people? Basescu scheduled a follow-up
Who are these families? Who
Who are these storytelling event this summer, and
comprises this community?” families? Who she anticipates that the eagerness
The answers, as she found, lay in
their stories, which is how Legacy
comprises this to hear and share narratives won’t
subside anytime soon. That’s
Putnam came to be. The 10-day community?” great news for the center and the
festival, nearly a year in the making, community it serves.
made its debut in May. Though nine months, the group refined “Our intention is to do ongoing
the works presented in the festival its storytelling, listening and interviews, to bring more and more
represented a range of genres interviewing skills, learning to people into the mix,” she says. “I’ve
including theater, music, dance share members’ own stories and learned that if we are proactive in
and even a family recipe tasting, those of their neighbors. The effort finding ways to give people
storytelling was the unifying culminated in an evening that openings and welcome them in —
experience. celebrated the town’s history and that doesn’t just happen on its own
Next Stage brought in the New identity. — if we take active steps to engage
York based company Narativ and “The place was packed,” Basescu and encourage and support that,
staff from the Vermont Folklife says. “Everyone was so happily there’s a terrific appetite.” @8
Center to work with a group of 14 surprised at how much people
residents — selected to reflect the wanted to hear their stories. These Kristen Andresen is the assistant editor
of Inside Arts. She is also senior director of
demographic range of the local weren’t wild adventures, just small, marketing and creative services at Providence
communities. Over the course of human-scale experiences. The power College.
FALL 2018 INSIDE ARTS 15DAVID BELENZON MANAGEMENT
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FALL 2018 INSIDE ARTS 17SURVIVAL
Skills
Rural America is often isolated when it
comes to resources and access to arts.
What is the role of arts leaders in both rural
and urban communities to bridge the gap?
18 INSIDE ARTS FALL 2018BY LINDA L. NELSON and negative, that has until
recently existed outside the light of
M
aybe rural America consciousness.
isn’t a problem. APAP shined its light in this
Maybe it’s a solution. direction in February with the
Thanks to the 2016 Presidential webinar How We’re Doing: Rural
election, the U.S. is suddenly — and Presenting — Challenges and
many say belatedly — scrambling to Opportunities that drew more
understand its rural populations, to than 40 attendees from small
analyze our motives. To figure out places such as Randolph, Vermont
what makes us tick. and Redwing, Minnesota. The
This includes those of us participants identified and discussed
producing, presenting and the opportunities and challenges of
performing out here. I’m writing working in rural contexts, adding
from Maine, which, according to insights to data released by the
the 2010 census, is the nation’s National Endowment for the Arts in
a November 2017 report Rural Arts,
most rural state, with more than
Design, and Innovation.
60 percent of our population
The U.S. Census broadly defines
living rurally. Nationally, the rural
“rural” as anything that is “not urban.”
population — approximately
Two other government agencies, the
80 percent of this population is
Office of Management and Budget
characterized as white — hovers
and the Federal Office of Rural
at only 19 percent of the total
Health Policy, maintain definitions
population and is declining. In
that offer up slightly adjusted, but not
the last 18 months, and certainly
necessarily illuminating, numbers
among arts leaders engaged in
for how many people actually get
national conversations, rural
counted as rural.
populations have been both subject
Fifty years after funding what is
and party to speculation and
arguably the seminal project and
theories about their standing and
handbook for rural community
influence in American life.
arts development, Robert Gard’s
The simple demographic reality
The Arts in the Small Community,
is that rural dwellers have for years
the newest NEA study shows that
been becoming another minority
theater companies account for 15 to
within American culture. It was
20 percent of all arts and cultural
almost 100 years ago, in 1920, that
organizations in both urban and rural
the number of Americans who live
settings. But while more than 20
in cities overtook those who did
percent of these urban organizations
not, and the gap has been widening
is comprised of independent artists,
annually, with the nation’s urban
promoters, agents and performing
population outpacing total growth
arts companies other than theaters
to increase by 12.1 percent between
(such as dance companies,
2000 and 2010.
symphonies and circuses), those
components make up only 7 percent
Defining rural of rural cultural organizations.
As the population and focus The NEA, “the nation’s only
have shifted toward the cities, funder — public or private — to
so have resources and attention. support the arts in all 50 states,
Rural culture has arguably become the District of Columbia, and U.S.
America’s shadow self: a neglected territories in every Congressional
STEVE GREEN
and thus unknown aspect of the District in the country,” has a
national character, both positive more succinct and recognizable
FALL 2018 INSIDE ARTS 19description for rural: “Rural refers Yet even when viewed Coordinator for the Network of
to communities around 10,000 or proportionally, performing arts Ensemble Theaters, both of which
less in population and isolated from organizations and artists in the most make work in rural communities.
metropolitan areas.” rural states have access to fewer “The biggest challenge is that it’s
resources. Many of the nation’s 15 not seen,” he said. “It’s invisible to
Key word: Isolated most rural states suffered losses, the majority of the country. Rural
Isolation and its ramifications some in the double digits, of state California art is invisible to everyone
define rural life. Data released in late arts agency funding between 2016 in Maine. It’s a massive, massive
2016 from the U.S. Census Bureau’s and 2017. country, and we don’t know how to
five-year American Community These rural characteristics make it view it and evaluate it as art. If we
Survey document several key difficult for performing artists, agents apply standards being made in urban
characteristics of the U.S. rural and presenters to route shows, learn areas, this art will never measure up
population, notably its age: the about opportunities, draw enough because we just don’t know how to
median age of rural residents is 51, eyeballs to warrant significant view it.”
versus 45 for urban populations. Only corporate sponsorships or national “We make assumptions about
19.5 percent of the rural population funding, or just put enough butts in what is and isn’t possible on the
is likely to have a bachelor’s degree, seats to pay the bills. part of all of us in the field,” said
versus 29 percent in urban areas. APAP webinar participants drove Bonnie Schock, executive director
Located far from resource hubs, the these points home. at the Sheldon Theater in Redwing,
isolation of these areas — where, “We’ve got a population of 2,500 Minnesota, and webinar participant.
according to the Farmers’ Business in Lake Placid,” said James Lemons “Assuming what rural audiences
Network, means 39 percent have from the Lake Placid Performing supposedly ‘like’ around aesthetics: I
limited or no broadband access Arts Center. “This means that when find this particularly insidious.”
versus only 4 percent of urban we sell out the house, 12 percent Yet many rural arts practitioners
residents. Additionally, limited of the total population is in our are turning challenges into solutions
transportation services restrict access building.” that might benefit the wider culture,
to visibility, information, knowledge “Year-round programming is a thus finding silver linings to their
and resources. struggle,” added Amber Brown, from work in isolated communities. The
“I’m always surprised by how the Western Folklife Center in her steady increase of interest in creative
many people say they don’t know hometown of Elko, Nevada. “How place-making initiatives such as
about our specific funding programs,” are we able to bring people to this ArtPlace America, where more than
said Adrienne Petrillo, the New area on a consistent basis? And how half of the 2017 National Creative
England Foundation for the Arts’ to bring Latino and Native American Placemaking Fund supported
artists traditional to their regions out projects serving rural communities,
to the world?” and Art of the Rural, a collaborative
Listen to How We’re Doing: Rural that fosters dialogue between urban
Presenting — Challenges and Pay attention and rural communities, point toward
Opportunities and other APAP opportunities.
Perhaps the key element missing
“So often we talk about the
webinars at: apap365.org/ for all of rural America is attention.
benefits of art making as building
Resources/Webinar-Archives “We’ve taken away support for
civic cohesion and participation,” said
all rural populations in everything
Valdez. “And just because of size, in
— access to quality education,
program director of presenting and rural contexts, this is especially so.”
health care, et cetera,” says David
touring, and Center Stage. “Or who Greenham, longtime actor, director
think programs such as NEFA’s and producer in central Maine. The intentional imperative
National Dance and Theater Projects “Art, too.” Isolation, performing arts
are not applicable to them. NEFA “Rural art does not get the makers from Maine to Alaska say,
would like to connect more rural same kind of respect or attention,” builds intentionality. No one drives
presenters to artists,” she added, said Mark Valdez, a director and through your town and past your
“whether through residency work educator based in Los Angeles. theater on the way to somewhere
and finding the correct fit for each Valdez has served as the associate else, and artists do not typically
community or travel funds. They just artistic director for Cornerstone perform there as part of regular
need to call and talk to us.” Theater Company and National tour routes. Every successful show,
20 INSIDE ARTS FALL 2018LD EN & ARTS ASSOCIATES
H O S HARING STORIES AND CREATING PARTNERSHIPS SINCE 1983
2019-2020
TOURING ROSTER
Shh! We Have a Plan
Diary
of a Wombat
Windmill Theatre Company Monkey Baa Theatre Childsplay BRUSH Theatre
of Adelaide, Australia of Sydney, Australia of Tempe, Arizona of Seoul, South Korea
Red Racing Hood Morgan’s Journey
’s
g a n ney
or ur
Penguins M Jo
Cahoots NI Inlet Dance Theater Robert Morgan Childsplay
of Belfast, Northern Ireland of Cleveland, Ohio of Toronto, Canada of Tempe, Arizona
Miss Nelson Has wilde
a Field Day Creatures
David Gonzalez
David Gonzalez Dallas Children’s Theater Tall Stories
of New York, New York of Dallas, Texas of London, England
Passing it Forward
Infinite
Monster
ILLUSTRATED EDITION
Theatre Heroes Terrapin Puppet Theatre Slingsby
of Austin, Texas of Tasmania, Australia of Adelaide, Australia
COME VISIT US AT: WAA # 803, AMW #713, and PAE #105
www.holdenarts.org * phone: 512-477-1859 * sk@holdenarts.orgevery well-received booking, every together arts and business, arts and “How we think about economic
ticket is made with the context and health, arts and religion, in ways development, housing: these are
concerns of that specific place and that echo the 50-year-old findings really at the forefront of my job. How
community in mind. of Gard’s The Arts in the Small the arts can and do lead in those
The earned-to-contributed revenue Community. spaces is of particular impact for
ratio for arts-based nonprofits is often rural presenters.”
reversed in rural areas because both It’s about neighborhood “We at Double Edge believe art is
the number of tickets sold and the part of the growth of a living culture
Community arts organizer
pricing models are constrained by which must relate and integrate the
Maryo Gard Ewell, president of the
local demographics and economics. community it is situated in,” said
Robert E. Gard Foundation and a
This demands tailored measures Stacy Klein, founder of Double Edge
board member for the Community
for success, and many rural Theater in Ashfield, Massachusetts.
Foundation of the Gunnison Valley in
practitioners measure success not “This means the community can be
Colorado, likes to refer to the words
in financial terms, but through witness or participant but must be
of Baker Brownell, a philosopher
community impact. involved.”
of the mid-20th century. Brownell
“Much of the ‘ruralness’ is the way This engagement of performing
thought of rural America “as a place
things get done in this community,” arts makers in their communities is
where you can know your neighbors
noted Schock, during the webinar. making a demonstrable difference.
as whole people, not just as an actor
“It is truly relational rather than The NEA Rural Arts, Design, and
with a single role, like ‘dentist’ or
transactional. The personal invitation Innovation in America shows
‘fellow parent of a 6th grader at
is real.” that 12 percent more rural arts
Edgewood Elementary,’” said Ewell,
Lemons acknowledged that his organizations report having “a lot” of
who is Robert E. Gard’s daughter.
organization cannot and does not use civic leadership in their communities
She conceives of a broader culture
the “break-even model” to measure than their urban counterparts. And
based on rural values and experiences
return on investment. “Our primary the average population growth
that embraces “human scale, human
concern is what are we bringing interdependence, multiplicity of between 2010 and 2014 in rural
to the community and how are we hats, and scarcity of resources” as an counties was five times higher in
alternative definition for living that those counties hosting performing
changing it for the better through our
contrasts with urban standards. arts organizations.
programming mission,” he said.
With limited resources to develop “My role as an arts leader is more
stand-alone endeavors, cross-sector tied to the literal civic health of the The “multiplier effect”
collaboration is another hallmark of entire community than I ever could How can national and regional
much rural performance, bringing have imagined,” added Schock. funders and industry organizations
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22 INSIDE ARTS FALL 2018such as APAP, NEFA and the NEA better support
MIKE GREEN & ASSOCIATES
this impact, as well as facilitate the conversation on
rural arts?
Webinar participants asked for increased breaking tradition
support for artist residencies and networking
opportunities, as well as other strategies for
creating needed “multiplier effects” around rural
performing arts, such as additional encouragement
of urban-rural partnerships.
heard on
Valdez noted the nation has a history of rural public radio’s
regional movements, such as the Southern
Gothic, that have managed to surface, rise above
“On Being”
marginalization, and achieve broader visibility due
in part to this “multiplier effect.”
“Regional funders and museums: That’s their
CARRIE
role,” he said, pointing to Minnesota’s Bush
Foundation, situated among 27 native nations in
the upper Midwest, that is making it a priority
to support rural and indigenous art as part of its
organizational practice. “They are close enough to
the ground that they can see what’s happening and
invisible to a lot of people.”
NEWCOMER
Songwriting that celebrates
“All sides of the presenting world need to
make it a priority to ‘show up’ in small towns and the sacred ordinary
rural spaces,” Schock said. “We can’t compete
economically; we have to have a different kind of
value conversation.”
“Great meaning can be found in attachment
to place,” said Ewell. “Great meaning — and good
survival skills! — can be found in learning how
to get along with the person next door, especially
if they are different from you. I believe that these
are things that we all must experience in order to also available:
live with grace as human beings in an increasingly
abstract world. Furthermore, if rural Americans
“Songs From The Edge Of The World”
so chose, they could lead the way in helping our a co-bill w/ Carrie Newcomer &
nation, maybe even our world, figure out how to
balance the reality and thrill of an increasingly
Over The Rhine
globalized culture and economy with the need for
meaning and human contact.” also representing
“Just one more thing,” Klein, of Double Edge
Theater, added. “Excluding a good percentage of ALASDAIR FRASER & NATALIE HAAS
the population, i.e., anyone outside a major city, has
THE REVELERS || DAVID WILCOX
consequences: It is isolating, alienating, and ends
up creating a large population of people who are
JAY UNGAR & MOLLY MASON
disenfranchised from culture and therefore
suspicious. The only way to grow our society is by JOHN MCCUTCHEON
investing in a full cultural life for all people.” @8
SOULSHA Afro-Celtic Funk
Linda L. Nelson is the assistant director for the Maine Arts
Commission, the state agency for the arts supported in part
by the NEA. She was the founding executive director for Opera MIKEGREENASSOCIATES.COM
House Arts at the 1912 Stonington (Maine) Opera House, on the
National Register of Historic Places, for 17 years. Prior to that, she
served as the first chief information officer for The Village Voice.
734.769.7254 || mikeg@mikegreenassociates.com
FALL 2018 INSIDE ARTS 23ASPEN SANTA FE BALLET
2018-2019 PERFORMANCE CALENDAR
September 8
Biarritz, France
October 26-27
Dallas, TX
November 10-11
Denver, CO
December 7-8
Aspen, CO
December 15-16
Santa Fe, NM
January 19
Northridge, CA
February 16
Aspen, CO
February 23
Santa Fe, NM
March 2
Scottsdale, AZ
March 5
Fort Collins, CO
March 16
Purchase, NY
March 20-24
Joyce Theater
New York, NY
March 28-31
Tel Aviv, Israel
April 3
Jerusalem, Israel
www.aspensantafeballet.com
Cathy Pruzan, Artist Representative | 415-789-5051 | cpruzan@aol.com
WAA: Cafe Table #309 Midwest: Booth #515
24 INSIDE ARTS FALL 20182019-2020
ARTIST ROSTER
REPRESENTING THE VERY
BEST IN WORLD MUSIC,
ROOTS, & AMERICANA
NEW ADDITIONS:
MARIACHI “LOS CAMPEROS”
Showcasing at WAA 2018!
B - The Underwater Bubble Show
Thornetta Davis
Also Representing:
Plena Libre, Kiran Ahluwalia,
Simon Shaheen, Tlen-Huicani,
Los Folkloristas, Lágbájá,
Lo Cor De La Plana,
Ballet Folklorico “Quetzalli,”
Zhou Family Band
Steve Heath, Artist Representative
Alma Artist Booking
248.905.3966
www.almaartistbooking.com
steve@almaartistbooking.com
FALL 2018 INSIDE ARTS 25A mission-driven approach to programming, including “radical hospitality,” opens the door for engaged equity, diversity and inclusion. BY JAKE STEPANSKY 26 INSIDE ARTS FALL 2018
LTHOUGH IT MAY COME AS A SURPRISE TO SOME, Salt Lake City — famous for Mormons and
A industrial banking — was the setting for a powerful lesson about equity, diversity and inclusion in the arts.
“As with most communities that have a very strong dominant culture, there is then also a very strong
counterculture,” says Brooke Horejsi, the assistant dean for Art and Creative Engagement in the College of Fine
Arts at the University of Utah. “That very much exists [in Salt Lake City], and it’s growing.” Despite this vibrant
counter-community of diversity, Horejsi says, “a lot of the cultural organizations and spaces that support cultural
organizations were geared towards the small segment of the community that was very white and Western in their
genre or the way they approach creativity.”
More recently, that has started to change. Several years ago, Horejsi helped launch Utah Presents, a mission-
driven approach to multi-disciplinary work at the University of Utah. As its executive director, Horejsi has
championed a programming ethos centered around “holding up and supporting a diverse range of artists and
creative voices.” She has drawn from lessons learned and relationships built during her time as a member of the
CATRINA MARCHETTI
inaugural cohort of the APAP Leadership Fellows Program, even presenting a chunk of Taylor Mac’s A 24-Decade
History of Popular Music after seeing the performer on an LFP cohort field trip.
FALL 2018 INSIDE ARTS 27It’s no surprise, then, that
Horejsi found a kindred spirit in WEBINAR INSIGHT: On Arts
Beatrice Thomas, whose work as
a multidisciplinary artist, cultural Beatrice Thomas responded to a participant’s question about how
producer, consultant and agent to handle it when GNC [gender non-conforming]/queer work or
for change centers on advancing POC work is dismissed as low art: “I have trouble with the high art
representation for people of color versus low art [distinction], because I think it depends on who’s
and LGBTQ communities onstage experiencing it and who’s reporting out on it. When I think about
and off. Born from this partnership art and the way that I approach sharing, broaching, introducing
was an exuberant and acclaimed folks to queer art — I remove the place for them to talk about
presentation at Utah Presents of is this good or bad and really explain to them how it operates,
The Singing Bois, a “genderqueer what are the themes that you’ve going to see, what ways is it
pop group redefining the boy presented, what are common types of technical things that you
band as a space for anti-racist and will see in the performances....There’s a possibility of actually
feminist action.” understanding how the art functions when it’s at its best so that
The Singing Bois are helmed the person who’s going at this low art/high art distinction actually
by Bay area-based sound designer has the tools to identify whether it’s quality or not quality within
and performer T. Carlis Roberts, the frameworks of the artwork itself.”
who spoke, along with Thomas
and Horejsi, to a cadre of APAP
members at an April webinar on meant that parts of our identities perform soul, R&B, rock and pop
equity and inclusion. The webinar or practice were falling on opposite covers and originals — developed a
was a part of a series curated by sides of this binary or just not sizeable following in the Bay area.
the Leadership Fellows Program fitting in at all to those gendered However, as the group attempted
in an effort to continue the frameworks,” says Roberts. “We to expand its reach, the members
conversations begun at the annual came together in conversation and ran into the institutional barriers
APAP conference in January 2018, also started to share music with and knowledge gaps that often face
and to explore the difficult and each another and figure out how artists of color and LGBTQ artists.
necessary work of creating artistic we wanted to bring together these That’s where Thomas came in.
spaces that foster inclusivity in an conversations with the music that After developing a relationship
authentic way. we loved and wanted to create a with Roberts grounded in sharing
For Roberts and the other bigger space for ourselves within.” industry best practices, Thomas
founding members, creating It was out of these conversations connected Horejsi to The Singing
The Singing Bois was an act of that The Singing Bois — a group Bois, who soon found themselves
community-building as much as of masculine-of-center artists in Salt Lake City at the beginning
act of creative expression. (assigned female at birth, but of an extraordinary whirlwind
“Being in very gendered music living and presenting in masculine of art-making and relationship
spaces and very binary spaces ways, shapes and forms) who building. Fortunately, Horejsi
WEBINAR INSIGHT: Partnership
T. Carlis Roberts highlighted a Catch-22 plaguing aspiring artists: breaking onto the national touring scene
requires experience on the national touring scene. The Utah Presents team circumvented this challenge by
taking a risk on the group. Roberts explains: “Something that was really key was the willingness of Brooke
and the staff to launch this thoughtful and strategic partnership that could allow us all to mutually grow
together. From our side, it was a huge boon to be able to learn how to present work in this way — learn
those processes while we were doing it and gain that experience by not only having this opportunity,
but [it being] an opportunity in which we could be very open about being new to the process, being
very honest with the presenter about all the things that we didn’t know and really wanted to learn by
presenting work.”
28 INSIDE ARTS FALL 2018You can also read
