Fractured Atlas Blog

Featured Member: Box Full of Wasps Theatre Collective

2009-07-10T04:59:56Z

If you were presented with a box that you were told was full of wasps, would you be shocked? Outside your comfort zone? A bit wary, but drawn in by curiosity? Relax. The only Box Full of Wasps that I present to you today is a New York City-based theatre group. Member Jenna Lauren Freed tells us what puts the zing in their collective sting…

Jenna, please tell us about your group’s work in three or four sentences.

We are a bunch of young, pliable minds who want to shut ourselves in a room for three hours and play. We want to create unsafe work in a safe environment. We want to do everything, maybe even take over the world. (Seriously, we wrote a cartoon pilot.) And this is more than four sentences. Did I mention we like to break rules?

How does a typical (if there is such a thing) Box Full of Wasps production come to be?

Every one of Box’s pieces is built in a different way. Typically, a Box piece will start from a single source of inspiration. In many cases, a piece of children’s literature (our creative director is not-so-quietly obsessed with twisted children’s novels), but it can sprout from anywhere. (We once started a project because two of our company members decided they wanted to devise a piece where a man, at some point, exits, a gun shot is heard and a deluge of blood spills across the stage.) We take that and play with ways of turning that source of inspiration on its head.

There is a string that ties every one of our projects together, and that is the process of backwards adaptation, an unusual method we created which takes elements of the chosen source and allows them to morph into something completely different. Whereas regular adaptation converts A to B, backwards adaptation jumps from A to C and then works its way backwards to B, so that B is a bastardized version of A. (This somehow always reminds us of the transitive theory of math.)

From there, the collaboration of the group is very important. We may spend a very long time working on a new piece, but we allow ourselves to indulge in the process of creation and the knowledge that said process will, in the end, produce a richer body of work. We may use improvisation, script or both in order to find where the piece takes us. Or we may simply play.

Who or what are your biggest influences, collectively or individually?

Many of the collective’s founding members attended the same theatre studio at New York University: Playwrights Horizons Theatre School. Our training at Playwrights encouraged a focus on process over product, as well as the use of the ensemble to strengthen and support a work. The biggest influence on our company is undoubtedly Marleen Pennison, without whom this company would still be just a dream. Marleen headed up the Creating Original Work track at Playwrights and fostered my work and process for three years. It was through this work that the members of Box met, molded and fused.

When it comes to individual influences, we are supremely blessed. After all, the great thing about working with such a diverse (and crazy) group of people is the wide variety of trinkets each member brings into the room. And these influences are an enormous part of the way Box develops work: the collective is nothing without its people.

Improvisation is a big part of your repertoire, but you’re not an improv group per se… What does improv lend to a scripted/structured performance?

Improvisation is an interesting tool to carry because it can be shaped to fit any exercise the company needs, kind of like one of those many-headed power tools. If we need to fix two boards together, it has that attachment. If we need to remove a broken screw, it can do that too. Improv has lead to every important discovery in every piece we have created. It has also given us the rules and obstructions of each piece, and so we’ve learned to trust it to show us the way.

When it comes to scripting, every piece has a different structure. In some cases, dialogue that is improvised between the characters is added directly into the script. In others, the entire piece may be scripted outside of the rehearsal process, and rewritten through improv. And, in some cases, we’ve found it fit to abandon the idea of a script altogether.

How do you decide how much improv to have in a project?

It’s definitely a case-by-case basis. It always comes out of play. Play is a giant concept for us. We need and crave it. Marleen [Pennison] once said, “The question is always, ‘Knock, Knock,’ and the answer is always, ‘Who’s there?’” So we ask our question and get our answer. From there, we take it step-by-step. We find that the piece will tell us what it needs.

Why is the name “Box Full of Wasps” right for you?

It was actually a line taken from the script of one of our past productions. In true Box fashion, the line itself came straight out of an improvisational exercise during one of our rehearsals. It actually wasn’t our first name either. We were originally going to dub ourselves the Backwards Theatre Collective, but it just didn’t fit. Sure, we’re backwards (you should meet our parents), but we wanted something that describes our work: pretty normal looking on the outside, but when you open it, it stings you in the face.

What has been your greatest success to date?

Yikes. Success. Hmm. We’d have to say that the work we are most proud of is a piece we created while at Playwrights called The Wayside Documentaries, which took seven characters adapted from Louis Sachar’s children’s series and aged them to their mid-twenties. The piece was a “deliciously twisted” documentary-style look at their lives. It was our first work together as a full ensemble.

Do you have a pipe dream performance? (unlimited budget, collaborate with any actor or writer you want…that kind of thing…)

We’d love to perform The Wayside Documentaries again! We’d want to keep a small budget (it gives the piece its charm), but we’d love to be able to restage it with more advanced technical elements. Perhaps a real projection screen! (The original production was put together for $250 and materials donated from MFTA. We created a projection screen using an old white sheet and curtains out of black fabric scraps. All of our costume elements were found second-hand. Our filmic moments were crafted on our media designer’s Mac.)

And, in our wildest dreams, who wouldn’t want to collaborate with The Wooster Group? Just saying.

How did you find out about Fractured Atlas and what motivated you to become a member?

We first learned about Fractured Atlas during a producing class at Tisch. The community around Fractured Atlas is what motivated us to become a member. We respect and follow so many of the companies involved and, if anything is important in today’s theatre, it’s community. Fractured Atlas offers so much to its members and we are honored to be a part of that!

How do you use your Fractured Atlas membership?

Since we’re a fledgling company, we are still getting the hang of our wings. We have a 5-year-plan (like the cool kids do) and Fractured Atlas is allowing us to get all of the gears working. The foundation of our house is cemented and solid and now, being fiscally sponsored, we can begin to build the walls by raising funds for our new work and getting it out there to the eyes and ears of the theatrical community. Basically, we are using our membership to learn to stand up on two feet and not mix our metaphors.

What are you currently working on and what’s next on your professional horizon?

We just started a piece inspired by Mike and the Magic Cookies, a children’s novel about a kid whose family turns into animals after eating enchanted cookies. (We seem to enjoy putting children into dangerous and potentially harmful situations.) This piece will be our first foray into self-producing and we are very excited about it!

Learn more about the work of Box Full of Wasps on their website, www.boxfullofwasps.org, or find them on Twitter!

Need Something to Read on the Beach?

2009-07-08T18:59:01Z

Happy summer everyone!

I bet some of you, like myself, are probably heading to the beach sometime soon and are thinking you should probably pick up a book to take with you. But, what to read??

Here are a few options for Fractured Atlas members, who can take advantage of the discounts below by visiting the Special Offers section of our site (under the Programs & Services menu)….

- Feeling like you should do a little professional/career development in your down time? Why not visit Allworth Press, which publishes business and self-help books for artists, designers, photographers, writers, and film and performing artists, as well as books about business, law, and personal finance for the general public. The press also publishes classic and contemporary critical writings on art and graphic design. Fractured Atlas members can find a code for a 15% off discount here.

- Want something light (as in, doesn’t weigh much) to shove in your beach bag? Bohemian Magazine is a new monthly periodical for the creative arts community, comprised of submissions of various forms of writing, photography, and artwork. Bohemian Magazine provides readers with a monthly look at hundreds of new creative works, allowing them to feel the pulse of the creative community, while also supporting aspiring writers and artists. Fractured Atlas members can purchase a one-year subscription at the astonishing rate of $5.95 by clicking here.

- Or maybe you’d rather stick to basics and pick up a piece of chick-lit or the next-to-last Harry Potter novel before the movie comes out. Well, you can choose whatever your heart desires at Barnes & Noble.com, where Fractured Atlas members receive 5% off all online orders. Click here for more info!

What am I reading, you ask? Besides all of the magazines I subscribe to (or have mysteriously been subscribed to… apparently, I get Details now), I am reading Roast Chicken and Other Stories (unfortunately, I was looking forward to “Other Stories,” which there ain’t much of) and just ordered The Garden of Last Days, based on Stephen King’s recommendation in some article I read last year. But, I don’t even read Stephen King novels, so I don’t know why I’m trusting him.

Got a good book to recommend? Let us know by leaving a comment!

Wordless Wednesday

2009-07-07T18:05:37Z

New Open Arts Network Partners!

2009-07-06T22:08:53Z

Hey everyone… Sorry that I haven’t been updating you as to who some of our new partner organizations are. I promise I’ll keep you in-the-know from here on out. And keep an eye out for new Open Arts Network partner profiles in the weeks to come… You’ll find out interesting info on a wide array of arts organizations nationwide! This post, however, will just give you a snippet of these great organizations that we now have the pleasure of partnering with. These four groups just recently joined our Network….

The Association of Calligraphic Arts is an international association that was founded and incorporated in 1997 to promote the calligraphic arts. Their membership includes new learners, experienced calligraphers, and professional lettering artists from several countries. They promote and encourage their members and other calligraphers to take advantage of the programs and services you’ll find on their site. And, if you’re looking for a calligrapher (wedding invitations, anyone??), you can browse their online directory of freelancers.

The Shasta County Arts Council’s objective is to make the arts accessible to all members of their diverse community in northern California. Through the design, planning, and organization of a broad range of art activities, events, educational outreach programs, and supportive opportunities for their artists and community, the Council’s mission is to provide avenues for social exchange that promote learning and cultural understanding.

Pittsburgh Filmmakers/Pittsburgh Center for the Arts is committed to the artist and the advancement of artistic excellence in visual arts – specifically film, video, photography, digital media, and fine and creative arts and crafts; the provision of equipment and facilities for artists; the conduct of instructional programs; and the stimulation of public understanding and awareness through exhibitions, demonstrations, and sales. Pittsburgh Filmmakers is one of the largest and oldest independent media arts centers in the country. Founded in 1971 to provide media-making tools to artists, Pittsburgh Filmmakers serves everyone from emerging artists to established artists to fellow non-profit organizations and students.

The Dumbo Arts Center is a contemporary arts organization located in Dumbo, Brooklyn, New York. DAC’s mission is to catalyze interaction between visual artists, the local community and the wider public, in order to preserve the neighborhood of Dumbo as a springboard for new art. DAC produces the annual multi-site D.U.M.B.O. Art Under the Bridge Festival, presents a year-round program of new exhibitions in its gallery, commissions site-specific art and provides educational programs for artists and high school students. Founded by artists in the wake of the first festival in 1997, DAC was the first non-profit arts organization in Dumbo, Brooklyn. By attracting thousands of visitors and media attention to the once abandoned manufacturing area, DAC’s role has been pivotal in the establishment of Dumbo, Brooklyn as a recognized neighborhood and cultural destination.

Featured Member: Opus Nine Ensemble

2009-07-02T18:08:11Z

A 16-member ensemble composed of strings, winds, piano and classical vocalists, Opus Nine Ensemble formed in late 2008, “to explore the infinite possibilities offered by chamber music’s diverse instrumentation, sizing, genres, and periods.” All of its members are under the age of thirty and fresh from the top music academies in America. I recently asked mezzo-soprano Alysia Lee, as well as some of her fellow ensemble members, to tell me more about this energetic and ethnically diverse group.

Alysia, can you tell us a bit more about Opus Nine’s mission and work?

We promote the works of well-known and lesser-known composers, choosing concert repertoire that’s relevant (we think) to both current and future classical music enthusiasts. We believe that musicians can play a pivotal role in community building and in music’s capacity as an agent for change. Opus Nine also provides arts programming for public school students and their families, free community concerts, and interactive programs for adults.

On your website, it says that Opus Nine is “dedicated to approaching the most challenging and exciting concert repertoire with new ideas, dramatic modern contrasts, and passionate exuberance”. Can you give us examples of some of the new ideas and/or contrasts that you have put forth?

The 2009-2010 Concert Series is filled with great examples. In September, we’ll be producing “Road Trip USA,” a concert that explores various composers’ journeys through our country, specifically highlighting the travels of Dvorak, Schoenfield, Copland and more. The concert will include songs and readings about the joys and self-discoveries of travel and a vacation slide show. As performers, we often dig up many historical artifacts in an effort to find personal relevance to the music — we hope to guide audiences in their own personal journey.

All the members of Opus Nine are under age 30. Is this the age group that you are targeting as your audience as well? Do you think it is difficult to turn 20-somethings on to classical music?

Yes! We are targeting people that are under 30. The way that we listen to and consume music is totally different than any previous generation. We offer interactive concert experiences that use other art forms that we love — dance, visual arts, spoken word, drama, and more. Our demographic typically views classical music as elitist and difficult. However, all of the Opus Niners are young people passionate about classical music and we’ve found it relevant to our modern lives — that’s something we can share with our peers.

Who/what are your biggest influences? (Chime in, Opus Nine members!)

“Yo-Yo Ma is easily my biggest influence. Perhaps never in the history of classical music has a single performer been so involved in music as a force to bring people together. Not only does he integrate dance and world music into his concerts, he teaches, promotes new artists, builds gardens symbolizing Bach cello suites, and consistently demonstrates that music is truly a form of expression, not just a way to regurgitate something rehearsed. I try to emulate him as much as I possibly can.” — Jeremy, cello

“The people I’m around! My teachers: Charles Neidich, Ayako Oshima, Judith Mendenhall, David Krakauer. Also, my colleagues who I work with day to day.” — Crystal, clarinet

“I am inspired by other artist-led ensembles, like Alarm Will Sound and A Far Cry. I love that artists are taking control of their own artistic messages to audiences.” — Alysia, mezzo soprano

Tell us about the workshops that Opus Nine held this spring. Is this something you plan to continue doing in the future?

Because we all value the caring musicians who have inspired us, we offer low-cost music outreach workshops and residencies to community partners and public schools. This spring we debuted our workshop “Stretching Your Musical Imagination: Exploring a Composer’s Toolkit” for 400 elementary students in Philadelphia. Violist Jarvis Benson’s workshop with first graders allowed students to explore varying dynamic levels with their ears, bodies, instruments, and their voices.

What has been Opus Nine’s greatest success to date?

Our greatest success has been self-producing a successful debut concert tour in Philadelphia, Baltimore and NYC. It took a massive collaborative effort to make it work. Opus Nine is self-managed, so it was a tremendous effort to manage all of the behind-the-scenes affairs: designing programs, publicizing the performances, selling tickets, and booking venues. By working together, we were able to get everything done!

What motivated you to become a member of Fractured Atlas? How do you use your membership?

We discovered Fractured Atlas in our research for potential fiscal sponsors. We were impressed by the services available to emerging arts organizations. As an artist-led ensemble, we have found the online courses very helpful in bolstering our skills. Of course, the special offers and discounts on everything from Amazon.com to car rentals to Broadway tickets have also been great!

Is there any advice that you would give to a musician at the start of their career?

“Be focused and know what you want…but at the same time be open minded. It helps to know what’s going on in your field. Get into the know: check out what’s happening via the internet and classical music magazines/publications. Make friends along the way: tell people what you are doing (and not just music people — we are in a profession where networking is essential!), and be a good colleague. What goes around comes around…” — Crystal, clarinet

What’s next on Opus Nine’s professional horizon?

We are busy curating our 2009-2010 NYC concert series, planning our next tour, and creating community partnerships. We all work together behind the scenes to choose repertoire, concert themes, venues and more. It is a very creative and exciting time for Opus Nine.

* * * * *
To learn even more, read their blog, and see their concert schedule, visit Opus Nine’s website: www.opusnine.org. You can also find Opus Nine on Twitter, Facebook and MySpace.

Union Square Awards Accepting Nominations

2009-07-01T21:52:07Z

Who they are:
The Union Square Awards are named for the park on 14th Street, a historic gathering place where since the nineteenth century New Yorkers have organized and spoken out about major social issues. Known as a forum for the poor and disenfranchised, Union Square is identified with strong commitments and highlights the essential qualities embodied in the award.

The Union Square Awards program was established in 1998 by an anonymous donor to support innovative grassroots organizations responding to New York City’s most pressing social issues and making vital contributions through their efforts to the educational, economic and cultural life of the City. The Award is made to small organizations that have not yet received substantial funding or recognition.

What they fund:
The Union Square Arts Award identifies innovative and creative arts programs that engage youth and families in low-income communities across the city. Consideration is given to all artistic disciplines – dance, theater, music, visual and media arts, and creative writing. The Union Square Arts Award consists of a grant up to $35,000. The Arts Award is made to organizations less than ten years old with annual operating budgets of less than $1 million.

How to nominate an organization:
Prospective candidates for both the Arts Award are identified through a nomination process. Anyone familiar with the organization’s work may submit a nomination by submitting the applicable form. Alternatively, nominators may submit the requested information by fax to 212-213-6372 or mail to the Union Square Awards at 9 East 38th Street, New York, NY 10016.

Deadline:
Nominations are accepted on a rolling basis and are reviewed as they are received.

We’re Hiring!!

2009-07-03T01:05:12Z

That’s right, Fractured Atlas is in the market for a new Program Associate. Here’s the official job description. Here’s the unofficial one:

We’re looking for smart perfectionists who are obsessed with customer service and believe passionately in the value and importance of the arts. We’re looking for creative problem solvers who are cool under pressure and able to communicate complex ideas in a down-to-earth, accessible manner. This is not an easy job. You will work hard, with occasionally long hours, on the front lines of a fast-paced environment where change is the norm and not the exception.

This is an entry-level position. Not everyone succeeds at this job. Those who do, however, are often promoted within 12-18 months. Because you’ll be exposed to all aspects of the organization and every one of our programs and services, you’ll have the opportunity for professional development in almost any direction you choose.

If that sounds interesting (and for some I’m sure it sounds pretty horrible), then we want your resume. Follow the instructions in the official job description.

Various Upcoming Grant Deadlines

2009-07-01T21:31:23Z

The Paul Robeson Fund for Independent Media is now accepting applications.

Who they fund:
Named to honor singer, actor and civil rights activist Paul Robeson, the Fund supports media activism and grassroots organizing by funding the pre-production and distribution of social issue film and video projects and the production and distribution of radio projects, made by local, state, national or international organizations and individual media producers. The Fund solicits projects of all genres that address critical social and political issues, combine intellectual clarity with creative use of the medium and demonstrate understanding of how the production will be used for progressive social justice organizing.

Geographic focus:
National/International

What is required:
You do not need a fiscal sponsor in order to apply for funding. However, you will need documentation to support your 501(c)(3) text exempt status of your organization or fiscal sponsor in order to receive any grant monies. A cover sheet, application form, budget, narrative, and work sample are required elements of the application. Please check out the guidelines for specifics on the application process.

Deadline:
July 27, 2009

__________

Cinereach is now accepting applications for the The Reach Film Fellowship.

Who they fund:
The Reach Film Fellowship is a granting program supporting filmmakers who have recently completed a film studies program and are producing socially relevant short films. Four fellows are selected per year to receive a $5,000 grant, production support from sponsors, mentorship, workshops, career coaching and industry exposure. Every year, one fellow is awarded an additional achievement award of$5,000 for his/her next film, or for the distribution and exhibition of his or her Reach film.

In previous years The Reach Film Fellowship accepted applications from college students, and from filmmakers living across the east coast. In 2009, they will only consider applications from filmmakers who have (or will have) graduated from film school in 2008 or 2009, and who will live or stay in the New York Tri-State Area during the course of the Fellowship cycle. Some self-taught filmmakers may also qualify. Please contact their staff to discuss your eligibility.

Geographic focus:
New York Tri-State area

What is required:
You do not need a fiscal sponsor in order to apply for the fellowship. However, you will need a fiscal sponsor in order to receive any award monies. The guidelines and application can be found online.

Deadline:
July 15, 2009

__________

The Greenwall Foundation is accepting applications for their Arts and Humanities program.

Who they fund:
Innovation and creativity in the visual, performing, literary, and media arts receive special Foundation attention. The Greenwall Foundation is interested in supporting New York City’s cultural life and encourages requests from local arts groups and institutions. The Foundation’s grant giving focuses on emerging artists and the development of new artistic work.

The Foundation is not normally interested in proposals to support equipment purchase, facility construction or renovation, or general operating expenses, and will not normally consider grants to private foundations, endowment funds, or individual applicants. Grants are not made for arts education projects.

Geographic focus:
New York City

What is required:
The Arts & Humanities program has neither a printed application form nor a formal proposal outline. Requests for support should include:

Project description
Summary budget (expense and income) specifying the amount requested from The Greenwall Foundation
Statement of the qualifications of the artists
Copy of the organization’s most recent audited financial statements or IRS Form 990
501(c)3 tax exemption letter
Other relevant material

Applicants are encouraged to contact The Foundation’s Vice President for Program regarding their proposals well in advance of the application deadline.

Deadline:
August 1, 2009

Wordless Wednesday

2009-07-01T21:35:45Z

Featured Member: To Them That’s Gone

2009-06-25T19:37:10Z

To Them That’s Gone is a film documenting an extraordinary apolitical memorial to over 4,000 soldiers killed in Operation Iraqi Freedom. Run for the Fallen was founded by Jon Bellona in honor of his college friend and roommate, 1st Lt. Michael J. Cleary, who was killed in Iraq in 2005. In the summer of 2008, the film crew of To Them That’s Gone followed Run for the Fallen’s small group of civilians as they ran in remembrance of the American servicemen and women killed in Iraq, from Fort Irwin, California, to Virginia’s Arlington National Cemetery. At every mile they placed an American flag and a biographical card honoring one of the fallen until all had been recognized.

Unquestionably, it takes drive and dedication to complete such a run, and filming the ten-week cross-country journey was no less challenging. The filmmakers are now in the post-production phase, editing To Them That’s Gone in preparation for release next year. Producer/director Rolando Garcia takes us on the journey…

Rolando, please tell us about how this film came to be made. How did it get started?

John McKay and William Gardiner (Producers) were friends and classmates of Jon Bellona, founder of Run for the Fallen, and 1st Lt. Michael J. Cleary, at Hamilton College. John’s brother, Andrew (Producer), also went to Hamilton, and has been working in the film industry for years. The idea to document the Run just made sense. Andrew and I were working at Miramax and he knew I was leaving my position in marketing to pursue filmmaking, so he brought me on board.

The catch was that this idea came up in mid-March, 2008: less than three months before we’d have to hit the road. We had no money, no equipment and no crew. All we had was a deadline and blind faith that we’d make it. It really required pooling all our resources: Will’s wife helped us find a cinematographer, I found us a pro-bono lawyer and a PA, John took a leave of absence from work, Andrew poured over the paperwork. Our families deserve huge thanks, too, for giving us that initial funding.

What stages of the film’s making have been the most challenging — physically, mentally, financially, or in some other way?

Production was physically grueling. Over 72 days on the road filming, without a single day off. That takes its mental toll. I think it was really helpful that we had two of us on the road (John & Will) and two of us back in NYC (Andrew & me) — we were able to take a lot of the logistical burden off their shoulders. Also, having two experiences of the Run — actually being there and watching the footage as it came in — helped the filming creatively.

But I’d say the most challenging stage is the one we’re in right now: post-production. It’s a much bigger challenge than we anticipated on all fronts. We are building the structure and the narrative. We have a lot of hours of footage to catalog and then a lot of hard decisions to make as we cut it all down into a 1-1/2 hour documentary. That can be daunting at times but we’re moving forward and I’m proud of that.

The one challenge we did not see coming was the financing for post-production. We thought we would not really need much. However, when faced with the task, we realized we do need to pay for staff to work on it full time, otherwise it will never get done. That’s probably the biggest hurdle we’re trying to overcome right now.

When and where do you expect it to be released?

Assuming we have full financing within the next few months, we expect to be doing the film festival circuit around this time next year.

As a filmmaker, who/what are your biggest influences?

I love films about ordinary people in extraordinary situations. The more epic the situation they are thrown into, the better! In so many ways that’s what To Them That’s Gone is. These are young people, just out of college and by no means athletes; just regular everyday people. Yet they undertook an extraordinary task they believed in. And how much more epic do you get than crossing the entire country on foot? Unbelievable. You can’t even script that.

As far as filmmakers go: Alfred Hitchcock, no question. He’s the master of stacking the deck against his protagonists and keeping you on the edge of your seat: Will they get out of this one? How? No one else can tell a story as visually as he could, either. Well, maybe Sergio Leone.

What do you hope your audiences bring to To Them That’s Gone? What do you hope they take away?

I hope the audiences come in with an open mind. This isn’t about politics and it’s not about where you stand on the reasons for the war.

I hope they take away two things. First and foremost, an appreciation for the people who have given and continue to give their lives for this country. The service members who lost their lives are as diverse as all of us but, at the same time, we’re alike in that we all have dreams and aspirations. We want the audience to connect with them on that level. Second, I hope people leave with some solace. We’ve all lost people we love. This is the story of people who have taken that loss and channeled their feelings into something positive. It’s a lesson I have tried to incorporate into my own life since I got involved with this story and I hope others do, too.

What motivated you to become a Fractured Atlas member?

I met Juliana Steele at an IFP event. She told me about Fractured Atlas and the fiscal sponsorship program. We were looking at our options and what stood out to me was the wealth of information Fractured Atlas provided. I have learned a great deal reading through all you have available. I could tell right away that you’re an organization that does things right and does them well, without cutting corners. I appreciate that because it gives me comfort of mind.

I was also drawn to the fact that Fractured Atlas isn’t primarily a film organization, but supports a wide variety of artists. As a filmmaker, I draw inspiration from all media, so I like being part of a greater community. Those experiences add up and make me better at my specific craft.

Is there a piece of advice that you have received along the way — either making this film, or in life in general — that has proven valuable and stuck with you?

Perseverance is everything. No matter how talented or lucky you are, you will fall. You have to get back up, over and over and over again, or you’ll never cross that finish line. And do it with a smile on your face.

Is there any advice that you would give to a documentary filmmaker at the start of their career?

See above!

What’s next on your professional horizon?

I’d like to get back to fictional narrative films. Whenever I can find a sliver a free time, I squeeze in some writing. I try to keep the scope small, keeping in mind production limitations at this point in my career. After all, I don’t want to sell scripts, I want to make them. But the priority is getting To Them That’s Gone done and out there for people to see.

* * * * * *

Learn more about “To Them That’s Gone” on the film’s website: http://www.tothemthatsgone.com

All images copyright Film for the Fallen LLC, 2009.

Wordless Wednesday

2009-06-24T19:06:04Z

Do We Discriminate Against Female Playwrights?

2009-06-24T13:17:51Z

The NY Times reports on a fascinating study of gender bias in American non-profit theatre. As expected, research conducted by economics students at Princeton University confirmed that female playwrights are less likely to have their work produced than their male counterparts. But among the surprising findings was that the differential can be entirely attributed to the behavior of female artistic directors and literary managers:

Ms. Sands sent identical scripts to artistic directors and literary managers around the country. The only difference was that half named a man as the writer (for example, Michael Walker), while half named a woman (i.e., Mary Walker). It turned out that Mary’s scripts received significantly worse ratings in terms of quality, economic prospects and audience response than Michael’s. The biggest surprise? “These results are driven exclusively by the responses of female artistic directors and literary managers,” Ms. Sands said. … “Men rate men and women playwrights exactly the same.”

The study also compared the ratio of plays written to plays produced and the lengths of Broadway runs for female vs. male playwrights. In general, the findings seem to demonstrate that a problem exists, but that it’s a lot more complex than it might superficially appear to be.

So I’m curious… Since many of the readers of this blog work in non-profit theatre, is this consistent with your personal experience? Have you encountered gender bias? Have you been guilty of it?

Fiscal Sponsorship Survey Results (and the winner!)

2009-06-17T22:30:41Z

I first want to thank all of the 405 fiscally sponsored projects who took our annual survey. About 27% of our projects took the survey, which gave us a really great sample to work from. This is the first year that we’re going to directly respond to certain things that you expressed in your survey comments. If you took the survey (or even if you didn’t!), I encourage you to read below:

Project Satisfaction
Overall, projects had a ton of great things to say about our staff and the program. 99.3% of respondents find our staff to be helpful and accessible when they have questions or problems. Projects commented on fiscal sponsorship providing them with courage and credibility to approach their donors. They love our online tools and find the program easy, user-friendly, and reasonable. There was an amazing amount of praise for our staff (specifically Emily Watts and Juliana Steele) who they describe as quick, personable, knowledgeable, helpful, and supportive. Thank you for all of the positive feedback!

Some of you expressed that the program is complicated and that you wish there was more information up front. We do our best to make sure that the information about the program is easily accessible and provided from the first day your project is approved by our Board of Directors. It can be a ton of information to go over and digest, so please don’t hesitate to contact us if you need help to decipher it. That’s what we’re here for! Some projects commented on the amount of “red tape” they must go through to have text approved, request funds, and apply for grants. This level of oversight is necessary in order for Fractured Atlas to remain compliant with the IRS tax code and to operate the program - thank you for your patience in navigating the program! A number of projects expressed that they would like to be alerted to grant deadlines - keep reading the blog - deadlines are posted here!

Website Interface
For fiscally sponsored projects, there is a ton of content on the manage sponsored fund section of the website. Projects praised the website for being super-user friendly, well-organized, very functional, and easily accessible. One frequent comment was that donor information and history should be more easily search-able instead of available to export into an excel spreadsheet. Other suggestions, that we are in the process of creating, are tips on grant writing and how to take advantage of the program. We’re currently working on these features and you will see changes in the coming months. We are also working on creating a Facebook widget and customizable email alerts you can sign up for regarding donation and fund release history.

Additional resources for the fiscal sponsorship program
Projects love the idea of a Do’s and Don’t tip sheet for grants - this will be on the site shortly! There was interest in more information being available on what to do once you receive a grant (reporting requirements, what is expected, automatic email alerts) - we’re also working on putting this together. References for legal and accounting help will be also be added to the website. Sorry we are not able to provide advice directly!

About 25% of projects were very interested in learning more about why they should or should not incorporate and apply for 501(c)(3) status. This is a much debated topic and is something that should be considered on a case by case basis. We are considering adding some links to resources that can help you decide what is right for your project. I’ve also written an article about this topic for Chamber Music America’s quarterly newsletter CMA Matters - please check it out.

The feedback regarding screencasts and webinars on how to use the fiscal sponsorship and navigate the website was extremely mixed. Some projects don’t think these are necessary and prefer reading instructions rather than seeing an example of a video online. Others thought it would be helpful and useful, especially when first starting out in the program. We are going to create a couple of rudimentary screencasts and see how well they are received.

Feedback - love us/hate us/sort of like us
Thank you for all your positive and constructive feedback - the staff members involved in the fiscal sponsorship program work hard to help and we love knowing that it’s working! The constructive feedback also helps us to improve the program and design services that will help our projects. Some of you responded with direct questions about a specific issue pertaining to your project- please contact us directly at support@fracturedatlas.org to receive a response to these questions.

For those of you who are interested in who won the $100 donation to their project, it was Jessica Danser and her fiscally sponsored project, Jessica Danser/dansfolk, in Bronx, New York (Fractured Atlas member since 2006). Thanks again to everyone that participated… And for everyone that missed the survey please let us know what you love about our fiscal sponsorship program, what we can improve, what questions you have, and how we can help you.

Featured Member: Art Throb

2009-06-19T18:20:36Z

Art Throb is a multimedia online magazine, dedicated to chronicling the arts and culture of Boston’s North Shore. And throb is exactly what it does — only a month old, the website already pulses with myriad articles and images related to film, visual art, dance, music… The key to its vibrancy lies in the fact that Art Throb’s focus expands the definition of art, well beyond that which you’ll find on museum and gallery walls.

“Our focus is the importance of art in our everyday lives,” explains Art Throb’s editor-in-chief and founder Dinah Cardin. “Art is in the cracks and crevasses of the sidewalk, in a way of looking at life, and the in people around us. Art is community.”

Dinah has an arts writing background and community news reporting; Art Throb is a natural blend of the two. “In addition to highlighting visual arts, music, literature, film, etc.,” she says, “we also look at the Art of Dating with a male and female columnist, the Art of Travel, the Art of Food and, soon, the Art of Sail, as we take a trip on the Friendship, the replica of a 171-foot three-masted Salem East Indiaman built in 1797, that docks across the street from my house.

Art Throb’s content seems to be a balance of things seen and happening on Massachusetts’ North Shore (Salem and environs) and also in the wider world (New York, Paris…). Who is your primary target audience?

Because our contributors work in second-hand stores, law firms, colleges and museums, our demographic is twenty-somethings to older adults who appreciate art, beauty and curiosity in their every day lives. They’re people from the North Shore who sometimes work in Boston and who definitely take advantage of what New England (and the rest of the world) has to offer in terms of culture and the arts. We keep our target audience in mind: in the same day, we posted dispatches from our travel writer’s trip to Paris, our music writer’s trek through Tanzania, and from a beekeeper thespian from Beverly Farms turned baseball team executive assistant in New York City.

Dinah Cardin, Art Throb founder and editor-in-chief (R) and Joshua Luke, assistant editor.

Describe the arts scene on the North Shore. What’s special about it?

The North Shore is full of creative, and sometimes frustrated, people searching for an outlet. It is a magnet for artists from all over the world. In Gloucester, you have unique light and a history of fishing. In Salem, we have a creepy, dark past because of the witch trials of 1692 and the subsequent symbols remain everywhere. Up and down the North Shore, there are people creating magnificent things. Your waitress is a sculptor. Your coffee shop regular is penning a novel. It’s a constantly inspiring place. And we hear over and over that we’re filling a niche.

What has been your greatest success to date?

Having an idea for an online arts magazine and executing it within 45 days -– that includes making decisions about content, design and our general direction and mission. Then we convened a board of advisors, found contributors and photographers, edited stories, and hit the “Publish” button.

What’s the biggest challenge in putting together an online publication?

During the first few weeks, it was getting our technical glitches worked out. Functionality is important! Second, it has been persuading those who don’t read online publications to check us out!

I love your tagline: “Art is where you find it.” Can you describe an instance when you “found art” rather unexpectedly?

When my assistant and I were first working on this project, we stumbled upon a single phrase written out in the open. On the ground on the wharf across from my house, written in stones, was the phrase, “We Outgrow Love like Other Things.”

Then, one of our contributors found headless plastic animals stuck in snow banks outside his house all winter long. The same person does a photo series of 2’s on our website. He loves finding unexpected displays of this number.

How do you use your Fractured Atlas membership?

With our fiscal sponsorship through Fractured Atlas, we will be able to manage our donations. Our membership also gives us increased visibility and credibility.

Please finish this sentence: “A world without art is…”

A world without art is painfully bland and uninspiring. It’s working in a cubicle in a windowless office, surrounded by the most witless people. With economic collapse and global confusion, more people are seeking art as an escape…and for renewed meaning.

What’s next on your professional horizon? What visions do you see for Art Throb in the future?

Now that we’ve officially launched, we have all sorts of tricks up our sleeve for multimedia installations. We not only write about art, we want to showcase art. We also aspire to become a must-read for artists and art lovers, and finally, to be financially afloat.

Visit Art Throb at www.nsartthrob.com.

Philly Arts Community — I Need Your Advice

2009-06-18T16:52:15Z

Adam Huttler and I are headed to Philadelphia to meet with members of the Philadelphia arts community for a few days this month, and I’ll be staying in town over the weekend of June 26-28. I need your help — what’s happening on the arts scene that weekend that I should be sure to catch? Many thanks for the assistance!

Wordless Wednesday

2009-06-17T14:32:21Z

Sex Positive Released Today in New York

2009-06-12T17:48:06Z

Sex Positive is a project that was previously sponsored by Fractured Atlas. Sex Positive is a film that explores the life of Richard Berkowitz, a controversial gay S&M hustler turned AIDS activist in the 1980’s, whose incomparable contribution to the invention of safe sex has long since been forgotten. It’s being released by Regent today in New York and is scheduled for release in other cities around the country. Congratulations to Sex Positive on the success of their project!

Featured Member: Synapse Arts Collective

2009-06-12T03:52:17Z

The Chicago-based performance group Synapse Arts Collective creates opportunities for all types of artists to work collaboratively on performance-based projects. Integrating movement experimentation, theater, photography, music, visual art, video, creative writing, and stage design, the group strives to both inspire their audiences and evoke critical thinking and emotion. Artistic Director Rachel Damon elaborates…

Rachel, tell us about the mission of Synapse Arts Collective.

The goals of our work center on artistic development — both the creation of new work and also the professional development of individual artists. We’ve found that creative collaboration and co-presentation beget innovative performance works, and also provide an environment for learning-by-doing and sharing skills and resources.

Your website says that Synapse Arts Collective is “Railing against the self-centered climate of our times.” What trends or habits do you see as the root(s) of this self-centeredness? What negative end results does this self-centeredness cause, in the art world and in society in general?

I doubt that my answer to this is much different from that of an artist in a bygone era. I think our dependence on personal technology and an overabundance of consumer choices are acclimatizing us further towards excessive individuality rather than connecting us. My hyperbolic fear is that we’ll get to a point when we’re never asked to create a group project in grade school. Or never play a team sport, and don’t know how to sew a hem or bake bread.

The most important lesson of the many collaborative endeavors I’ve luckily been a part of is the fact that my ideas are made better by the contributions of others. This is a hard lesson for me, because I naturally prefer to lead, but more people benefit from everyone’s voice being heard, and my mind is often opened to a different perspective. Gathering in a room of creative folk to trade ideas, build skills, and form live performance works is a welcome reminder of the power of interaction. As the world fills with people, we have to work harder to educate ourselves about the increasingly diverse array of events and lifestyles.

For my part, the information I glean from a Bharatanatyam performance or the feeling I get from being a part of the audience at a Sara Kane play affect me more deeply than watching videos of the same or reading wiki articles about them. I have immediate access to all these options, but I can shake the hand of a performer after the show. I can’t even see their facial expression when we text about it later.

I’ve asked other Featured Members what they hope their audience takes away from their performance… What do you hope audience members bring to your performances? What must they bring in order for you to achieve your mission?

Our audiences will get the most out of a Synapse experience if they are willing to open up all of their senses. We did a project in silence that was all about watching and quiet (hush, 2004), we’ve done performances in busy street crosswalks, where audiences may not know we’re there until they have to move out of the way, and our current piece (Stridulate, which opens Friday, June 12) asks that the audience open their ears just as much as their eyes. We work to create a sensory experience, pushing the boundaries of dance to include, and share equal billing with, other artforms and environments.

Our audiences are asked to bring this openness, and they do, but we also bring performance to them. It is a part of the bargain that we meet them halfway, or even extend further than that, to introduce the connectivity of performance to them in ticketed venues but also the sidewalk, the park, and the train.

You strive to keep your events available to all by doing public/site-specific work, and making admission prices inexpensive or free. How is that doable in the current economy? What kinds of choices make this possible?

This is getting harder, certainly. We are able to thrive largely due to our network of support. We rehearse in a free space because I teach there, and we regularly partner with galleries and venues that benefit from our audiences seeing their space. These connections take more effort, but less money. We apply for grants, propose co-presentation programs, and receive generous individual donations. We choose to augment the financial support with resource sharing amongst collective members, to stretch the dollars into shows and programs.

Yet we still have to invite the performers to do public works at low pay rates, with the understanding that they can determine if they can spend the effort at the remuneration we offer. Many of them choose to for the fun of it and for the statement it makes.

What has been your greatest success to date?

This is an incredibly difficult question to answer, because each of our projects are very different from one another. I can’t claim any one answer, but will say that Crosswalk Dances brought dance to a lot of people who would never have seen us otherwise, that “Feeling Into Form” (an improvisation workshop series) developed our ideas about ensemble work, The First Sound established our ongoing interest in pairing moving and singing, Slit physically moved the audience through the works and stations that emphasized the themes of the evening but with an enjoyable satire, hush successfully created an immersion experience for the audience, and Stridulate promises to do that as well.

What’s great about the Chicago performing arts scene/community? What’s tough about it?

What’s great is the profusion, and the interconnectedness while maintaining diversity. There are so many creators working in dance, theater, comedy, music, and performance art, that you have multiple options of what to see on any given night. And many folks go to events that are out of their home genre.

What is difficult, particularly in dance, is the divide between small to mid-size ensembles and the bigger budget companies. This is reflected in our venues — we have many venues that seat approximately 40-100, and plenty that seat 250 or more, but to step up from one to the other is a severe financial undertaking.

Without a central dance service organization, that can advocate for dance-based work and teach dancemakers to develop their business to that stage, we are only able to get as big as an underpaid staff and sporadic rehearsal schedule can allow.

How did you find out about Fractured Atlas and what motivated you to become a member?

We found out about Fractured Atlas through our collaborator Erica Mott, who was researching ways for artists to obtain health insurance. We became a member for the array of support opportunities in fiscal sponsorship, liability insurance, development, and the network of artists across the country.

What’s next on your professional horizon?

We open Stridulate: hybrid forms in voice and movement on June 12 in Chicago! This is the culmination of a year-long process investigating intersections of the voice and moving body, exploring expressivity and egalitarian treatment of two art forms. We are also in the planning stages of a series called “Collision Theory”, a series that will bring together novel pairings of improvising sound and movement artists for monthly performances at Links Hall.

How can we see/experience your company’s work and learn more about you?

If you are not in Chicago, go to www.synapsearts.com. If you are in Chicago, come see Stridulate June 12-20 at The Galaxie!

Top to bottom:
1) Rachel Damon. Photo by Kristin Helfrich.
2) Excerpts of Synapse Arts Collective’s most recent performance at Hyde Park Art Center. From the project Stridulate, with Rachel Damon and Dan Mohr performing. Video by Suzy Grant.
3) Chrysalis Unmade, with Rachel Damon, Bethany Betzler. Photo by Kristin Helfrich.
4) Crosswalk Dances. Photo by Wendy Coffelt.

Serve & Be Served

2009-06-11T22:06:51Z

We’re going to steal President Obama’s thunder a little bit, as he is set to announce this on June 22nd. We just wanted our members to be in the know so they can begin thinking and working on this immediately!

Many of our member organizations — from small, one-person outfits to huge, multi-million dollar non-profits — are in need of volunteers to help them with different service projects. As we already know, President Obama has placed a lot of value on community service throughout his campaign and his tenure in office thus far. In the days to come, the President and First Lady will be announcing the launch of www.serve.gov — a website where non-profits and community groups of all types can connect with prospective volunteers throughout the country. And, to specifically get the word out to those who work in the arts, the White House is partnering with the NEA and the Corporation for National Community Service.

What will registering your service efforts on Serve.gov do for you? Well, millions of Americans will be looking for opportunities to answer the President’s call to service, so you’ll raise visibility and awareness for your cause. Many listed projects will receive national and local media attention, so by the end of the summer, you should have a

whole new group of folks interested and/or involved with your programming. And, once your projects are in full swing, you can post videos to that website, as well as to Fractured Atlas’ YouTube page, and you can sync your Flickr account with your Fractured Atlas member profile and post your pictures there.

So, get thee to Serve.gov and wrassle up some volunteers for the summer… because your country says so!

Congratulations to Lisa D’Amour and Katie Pearl!

2009-06-10T15:18:26Z

The fiscally sponsored project Lisa D’Amour and Katie Pearl is a recipient of the 2009 MAP Fund grant. Congratulations to the project Lisa D’Amour and Katie Pearl!

The Rockefeller Foundation established MAP in 1989. In 2001, Creative Capital began administering the program and in 2008, the Doris Duke Charitable Foundation became MAP’s primary funder in partnership with Rockefeller.

Congratulations to Recently Approved Fiscally Sponsored Projects!

2009-06-08T11:49:52Z

This month our board approved 82 new fiscally sponsored projects from 9 states. Check them out!

[Media Offline]
Alligator Mouth Improv
Analogous Projects
Art Throb
Arte y Asesoria Group
Be-In Festival
Bella Umbrella Theatre
Beneath an American Blanket
Blues for Kids in Shelters
Box Full of Wasps Theatre Collective
Camerata Notturna
Chance to Dance (C2D)
Clarinet Commission Collective
Crazy Beats Strong Every Time
David Zurak
Degree Dance Collective
Dicky Dahl
El Puente: Bridge To A Gentrified America?
Emmy Bean
Fall of the House of Usher/Exiles From the Sun
Friends Always Collective Theatre
Gordita
Green Lifestyle Film Festival
Hens and Chicks
Hobo Junction
Horse Cow Research and Development
JACK Music Inc.
JVO Productions
Life In The Balance
Loose Marbles Productions
Lumenhouse Exhibition Space & Art Studios
M*SHAKA*FUSION, LLC
Medea at Le Petit Versailles
Merhaba
middlemen
Momenta Quartet
Musica Nuova
Navajo Skies Dance Project, Inc
Nesting
netWork
New Dance Theater Brigade/Alie Vidich
NIGHTS IN KARBALA
North Brooklyn Public Art Coalition
OFF Theatre Company
Old Forge Ballet Company
Opus Nine Ensemble
ouch magazine-we support new talent
Passage Pictures
Piano sonata
Rebeca Vallejo/EuroLatinJazz
Rehearsing For Revolution
Royal Flush Festival
S.T.E.P.
Sex and the Holy Land
Ship in a Bottle
Songbook Legacy Project
Sospiro Winds
speedboatbetty
Swansong
TALK THERAPY
That Perfect Moment
The Bruce High Quality Foundation
The Buddha Bunny
The Career of Richard Wallace
The Complete Songs of Hugo Wolf
The Doctor And The Devils
The Figments
The Joys of Fantasy
The People
The Short Films of Moebius McCartney Simmons
The Sober Gardener
The Vann Molyvann Project
Theatre Live
To Them That’s Gone
Tom Slot
Urban Diaries
Van Cougar
video series (two ongoing)
Vision Quest
Watermelon Homecoming
Waves
We All Fall Down
Winged Fist Organization

Featured Member: Von Orthal Puppets

2009-06-05T15:22:50Z

Chicago-based Von Orthal Puppets is committed to keeping the ancient art of puppetry alive by educating a new generation of puppeteers and creating “a communion of cultures and ideas through their art form.” Speaking about the company’s mission, Artistic Director Cynthia Von Orthal continues, “We want to create transformative experiences for our audiences through stories centered on hope and an examination of our own humanity. Basically we are dedicated to traveling the world telling the story of our heart, collectively, through the puppetry/mask arts.”

It should be noted that they undertake their mission using puppets of dazzling beauty and mesmerizing complexity. There’s a big Wow Factor, for young and old. Read on and see for yourself.

What traditions of puppetry have most influenced you? What cultures do they come from?

The techniques I use for Von Orthal Puppets come from both the Czech and European marionette and Japanese bunraku traditions. We base so much of our puppetry on these styles because they are so expressive and the movement brings these inanimate characters to life.

I have a son who is almost six, and he has always loved puppet shows. When I took him to the first puppet show he had ever been to in which the puppeteers were fully visible, albeit neutrally dressed, instead of being crouched down behind a black curtain, it really sparked his fascination with how the puppets were made to come to life -– how they were constructed, how they were being manipulated throughout the show, how truly complex some of them were.

For every show I have performed for a group of children, I have noticed a similar reaction. They notice quite a lot, and even though they are very invested in the story and characters, they also notice the life behind the puppet, which is the focus, imagination, and playfulness of the puppeteer.

Because of children’s innate curiosity and excitement, I usually do a short workshop after each performance, where the children get to touch and manipulate the puppets, and get to experience creating one of their own. It is these kind of experiences that provide endless inspiration for us, at Von Orthal Puppets, and it is the child-like fascination that we hope to bring out in even our oldest audience members.

What was the most challenging show you ever undertook? What made it so challenging, and how did it come out?

The most challenging show was one of the first puppet productions I was a part of: “The Adding Machine” by Elmer Rice. At that time I was part of a theatre ensemble that wanted to create puppet experiences for adults. No one was doing this, at least here in Chicago. I thought it would be wonderful to present a puppet play for adults, since we all loved the art form. It took us nine months to build, with four of us doing all the building and ultimately all the performing. The show had 60 puppets in all. The night we were to open, we were so behind schedule we actually were considering canceling, even though the press was coming that night from all over. We pulled it together and opened the show, not knowing what anyone would think. The show was such a success, receiving rave reviews. We had planned to run the show for about eight weeks… Two years later, we were still running. We just could not close the show. We had a tiny theater which had about 70 seats. We were sold out every night with people coming back to see it three and four times, bringing more and more friends.

The show was such an undertaking that we won an International UNIMA Award in the Puppetry Arts, the most prestigious award one can win for a puppet play. I think the thing that made it so challenging is that it was such an in depth piece of theater and, creatively speaking, we had to stretch in every direction. This experience definitely solidified my desire to continue in the puppetry arts.

What has been your greatest success to date?

We have had much success with the puppetry, which I am very grateful for, but I think the most successful is “Tara’s Story, The Birth of the Universe”, a creation story we were commissioned to build originally for the National Day of Puppetry. This production has performed all over the country and every time we perform it, it creates another opportunity to present it all over the world. I think the reason “Tara’s Story” has been successful is that it speaks to a variety of people about who we are and where we come from in a very archetypal way. Children and adults can relate to this creation story, which attempts to explain our meaning here on earth.

How did you find out about Fractured Atlas and what motivated you to become a member?

Von Orthal Puppets’ Outreach Coordinator, Katie Jones, suggested that we join Fractured Atlas. She was familiar with Fractured Atlas because she had met with a representative during her time at the Directors Lab at Lincoln Center Theater. Based on the success of that meeting, Katie thought Fractured Atlas could really aid Von Orthal Puppets in furthering its mission. I was very interested in the idea of fiscal sponsorship, so that our creative dreams can finally have the financial support needed to become a reality, I can expand my business in terms of networking with other arts organizations, and provide staff members with decent salaries and benefits.

How do you use your Fractured Atlas membership?

Currently, our main uses of Fractured Atlas are to broaden our exposure in the theatrical community, and to have better (and legal) means of raising funds through the fiscal sponsorship program. In the next few months, we are planning on having a benefit fundraiser, as well as applying for grants.

What’s next on your professional horizon?

This fall, we are focusing on three main projects. The first is that we are in the design stage of “Berwyn Avenue”, a funny and poignant story about a family’s experience in Chicago in the 1970s. The performance run is currently scheduled for spring of 2010. Secondly, we hope to create a large-scale educational program in Chicago Public Schools and area libraries. Finally, we are partnering with an organization called Casa Came, to create a show that will be performed at the Mayan Festival of Ancient Wisdom in Guatemala this December.

How can we see/experience and learn more about Von Orthal Puppets?

Please visit our website for more images and information. Von Orthal Puppets can also be seen performing at most puppet festivals in the Midwest and in many international locations including Peru and Australia. We also offer a new class each quarter, as well as a summer camp, so students of all ages can experiences the magic of puppetry firsthand.

Panel Discussions: Painful or Productive?

2009-06-04T22:32:13Z

Emily Watts and I are in the air en route to Houston for the annual Dance/USA conference. During the flight, I have several hours to catch up on some work, review the conference agenda, contemplate questions that I would like to discuss with colleagues, and ponder the purpose, and future, of the panel discussion format. In today’s world of blogs, vlogs, tweets and seemingly limitless people connecting as friends online, is the panel discussion still valuable and viable or an ineffective forum for addressing issues today?

It seems everywhere we turn there’s a panel discussion about this or that. How many panels have been offered in the last six months about the economic challenges facing the arts in America? Is anything solved? Is it supposed to be? What’s the value of these discussions? Is there a more effective way to do this nowadays? Do people attend primarily for the networking opportunities and refreshments afterwards? If so, is there a better way to facilitate this AND discuss the topic?

What panels have you attended that really worked well? Why? Is there a magic formula the others that aren’t so stellar should adopt? On a related note, who do you know that does a great job of capturing discussions and making them available for people who are unable to attend in person? Does anyone actually “take the discussion online” in a meaningful way? Does anyone follow up on the ideas discussed or are they left hanging in the air like the faint scent of the leftover brie?

Wow, with all these questions, you probably are hoping that I don’t take another flight anytime soon. I am truly curious about your thoughts on the topic, if you have a second, I’d really appreciate hearing what you think. We certainly have a lot to discuss and tackle in the arts, wouldn’t it be great if we could tweak a few things to make both the discussions and resulting action plans more meaningful? Thanks.

What Happened at the White House?

2009-06-04T18:19:57Z

Actually, the meeting took place at the Eisenhower Executive Office Building, but that sounds a lot less sexy…

I’m talking about the May 12th gathering of artists and creative organizers with Obama’s top cultural policy advisors. Although Fractured Atlas wasn’t directly involved with the event, one of our own, Caron Atlas (no relation), was one of three ringleaders.

Wanna know what was talked about? The official briefing report has just been released.

Upcoming Music Grant Deadline

2009-06-02T18:05:41Z

The Aaron Copland Fund for Music is now accepting applications for its Performing Ensembles Program.

Who they fund:
Funds are available for General Operating Support or Project Support for professional performing ensembles with a history of substantial commitment to contemporary American music and with plans to continue that commitment.

Geographic Focus:
National

What is required:
Applicants must be a non-profit tax-exempt organization or be fiscally sponsored. Applicants must have a performance history of at least two years at the time of application. At least 20% of the ensemble’s programming (in terms of duration) for the preceding 2 seasons consists of contemporary American music. Applicants must demonstrate a commitment to contemporary American music. An application form is required along with a proposal, supporting materials, and musical materials.

Deadline:
The postmark deadline for applications is June 30.