policy behind it. So the point of in the works is to get a sense of what is in the works for the future in the field that is supported by artists, presenters, colleagues in this room. Many of you have a lot to offer, which means that you'll each have about 90 seconds to make your presentations. But this is an opportunity for you to distill your ideas and to be very succinct. Five of you at a time, this is random order. I will call five of you at a time. If you're not here, your sheet goes to the bottom of the pile. That will be, I'll give you a 10 second to go warning. When I say stop, you may complete your sentence. We're not asking you to cut yourself off in the middle of a sentence. But it shouldn't be a sentence with lots of dependent clauses at that point. Please. So the important is who, what, where, where, why. This is what you are doing, what you are thinking about, et cetera. I will call five at a time if you come line up so that we can be expeditious in getting it on and off the stage. You can go to the podium. There is the mic on the podium. There's also a wireless mic. For those of you whose impulse is very strong for this, this is not a performative moment. Please. Because frankly, it's about getting information across and not showing your wonderful skills in the moment. So any questions of an art burst scheduled for about 40 minutes into the first part of this? So there will be a little break then, but that's not a break to leave. That's a break for you to shift your attention to the art burst. I think that's it. Any questions? All right, the first five. Yes. Usually I combine them with the two sheets from the same person, but they all in random order. So if I don't come across them both at the same time, it would be appreciated if you could minimize the time. Because for everyone, there are, as I said, we have 76 forms. We have about 100 minutes more or less. So be considerate. Also, I want to reinforce that once you have made your presentation, it is bad form for you to not show interest in the people who come after you and for you to leave once you've had your say. This is about us learning about one another and what's going on across the field. So please, don't leave once you've had your say. Any other questions? Laura, did I answer that adequately for you? You're welcome. OK, first five, Andrea Asaf, Uncrammel, the Museum of Contemporary Art, Chicago, Link Sions, Anna Trier, Marie Kasme, oh, Link's Hall. OK, the Link's Hall folks, those are the first five. And if you need your form to refer to, just ask. I'll give it to you. So Andrea, good morning. This morning I woke up to a news that in Tampa, Florida, two Muslim women had been attacked from moving a mosque. Shot at, one of them was shot at this morning in Tampa. As many of you know, I've been turning a piece called 11 Reflections on September since 2011. Some of you may have seen it. We had a really good year with the Kennedy Center, the Mama, and the Apollo this year. And I want to tour it again, because fall is the 15th anniversary of 9-11. And given everything that's still happening in the world, I feel like I'm not done with the piece. And now, I have an incredible opportunity to tour with a Syrian singer named Nibbana Alqantar, who will be a new collaborator. She's hailed as a world-class opera singer from the Middle East, and also a popular Arab music singer. And she's now a refugee. And she lives in Washington, DC. And it would be an honor to work with her. And whether or not you tour 11 Reflections or I want to tour a piece from a veteran's point of view, like Speak Killed My Cousin by Linda Parris-Bowley, or commission any work like during my next project, whatever it is, I implore you to please present work, challenge communities, talk about war, and Islamophobia, and horror, if you're mindful. Thanks, bye. I am Elizabeth Beard. I'm co-director of Circuit Network in San Francisco. We're a nonprofit artist management organization. I also produce the work of my roster in San Francisco. Christina Wong and Karen Azoategue are two members of my roster who are here in the room today. I'm talking today about a project I'm working on with Mia Massaoka, who's one of my composer musicians. We're developing a new piece called Align Becomes a Circle. And it's about a sonically and visually depicts dreamscapes, calligraphy, language, and the passage of time. She has a 10-year-old son and a 37-year-old daughter. And she is becoming quite aware of the passage of time. And she's working on composing a piece for an ensemble of multiple instrumentalists and voice and single-channel video that includes animation and live action, based in part on Carl Jung's philosophy and her own personal history as a Japanese-American artist and her family's history in Japan. She has a Fulbright to study in Tokyo and Kyoto this spring. And we are looking to produce the work in San Francisco in March of 2017. I'm looking for co-commissioners. I'm also interested in talking with people about video because we have had some changes in our personnel there. Thank you. Now I can hide behind the podium with a sign. Can you hear me? Is this on? Good. I'm John Cramill, Tiger Tail. We're embarking on a four-year project that we're calling. It's elemental. And the elements we're talking about is water, fire, earth, and air. And we're doing water this year. Something that Portland would be good at. But I think Miami's pretty good at it, too. You can read more about it in our brochure, which is out there. Just pick one and read about this. One of our high points is that we're bringing Aiko Watake of Aiko and Koma for a residency.  And but next year is fire. And that's why I'm here.  So contact me. See me here, or call us up. Get our information from our brochure if you have any kind of piece that has fire as a theme. Thank you. Good morning, everyone. I'm John Rich from the Museum of Contemporary Arts, and this is my wife Yolanda, whom you know. We have two projects to speak about briefly. We are in the final stages of working with the puppet artist and theater artist Blair Thomas and company on the unstageable Moby Dick with the piece that is also going to be in collaboration with the songwriter Michael Smith, as well as the percussionist Michael Zurang. And joining them will be seven very talented actors and puppeteers to create this metaphoric landscape. The piece is going to be completed in February or January and begin touring in February, and it is also a recipient of the NPN Creation Fund and Residency Program Fund. So if you'd like to know a little bit more about that, be happy to chat with you about that, and Yolanda will tell you about another piece. And we premiere April, right? We show that in Chicago. March 31st will be our first showing. Okay, yay. So this project has a two year gestation and we just started it. We're really excited about collaborating with Diatolina de Sombra that received Performing America's Creative Exchange Support. I thought we combined, we each had one. Okay, so Diatolina de Sombra is gonna be with us to devise a work with Chicago based independent artists, led by Anthony Joel Romero, who is Tejano and has been in Chicago now for some years. Inspiration points include Ernest Hogan's High Aztec. He's a Mexican futurist literary artist based in Arizona. We're really excited about collaborating with a devised work. They will be returning to Chicago in May during the National Ensemble Theater's conference. So please come to Chicago. You can stay with me. We can arrange for some hotel. They're gonna be devising the work then for an ensuing three weeks in September. Again, in Chicago in February, in 27th, well, okay. It premieres, we're looking for commissioners, producers, and residency support. Okay, we have three, so we'll go really fast. Hey, we're Link's Hall, we're in Chicago. I'm Anna, this is Marie. So this January, we've got a two week festival titled Amid. It's working with dancers who have, our choreographers who have been dancing for a while continue to dance in their own work throughout their lives and throughout their careers. Headlining Deborah Hay, who's marrying a piece, Bob Eisen are founders dancing in it. Cynthia Oliver's here, this, right here. There you go, boom, that you'll see later today. We'll be also featured in the festival. Zephyr Dance, B.B. Miller, K.J. Holmes, P.E. The Jane. Okay, okay, great. So with them way more, go. All right, then in May, we have I Shout to Keep the Devils at Bay, the spiritual and or in the profane. It's a series of performances, community workshops, and discussions that examine the relationship between crisis, art activism, and healing practices within the sacred and the secular realms. So how does art making during times of crisis, which we are in now, renew faith, hope, and love, particularly in non-normative communities? How do these art and spiritual challenges, the divisions between the sacred and the profane and the hedonistic? And finally, for three weeks in April, we have a program called the Tea Project. We're working with Aaron Hughes, veteran artist, activist, and Amber Ginsburg with veteran communities and refugee communities, thank you, which we received a community fund for from NPN. Thank you. Thank you. So I guess I wasn't clear. If you have more than one form in here, we do need to combine them and you need to do it all in the 90 seconds, so that everyone has an opportunity. So what, when, where, why be succinct, please? Next group, Rain Anja and Heidi Howard, Allison Manning, Sarah Guerra, Chakelm, and I missed the second one, and Peter DeMuro. So I'm gonna call the next 10 while they're lining up, I mean, the next five, so you can be ready because we're losing time with the transition and we need every second we can get. So the next group, Vallejo, Sydney Monroe, Mount Trumper Arts, Aaron Lansman, and Karen Sherman. If I start talking now, does it mean that I have more time? Sure, yeah, you can come closer if you'd like to be ready. On seven stages, and I'd like to introduce Rain Anja, who is a brand new to the, to this network, and she just received a creation grant. Thank you, Heidi. Thank you, everyone. I'm really excited to be here. My company's called Paper Dawn Militia. We're based out of Los Angeles and Edinburgh, Scotland. This piece that we're working on is called Warped. It's an aerial theater production based around the concepts of time, and the whole piece is taking place on a freestanding rig, which is exciting for us because it means that we can take our aerial show to a lot of different, it'll open up possibilities for where we can perform it. So we can perform it outdoors, we can perform it indoor, we can perform it in spaces that are non-traditional theater spaces. So we're looking forward to that. And all of the apparatus are invented and designed to be the inner workings of a giant clock. So there's gonna be lots of ropes and pulleys and chains and levers and gears and all sorts of things like that. And so the performers will be interacting with this ever-changing kinetic set. And that's part of our work with the research around time and the characters and their relationships to time. We are looking for more commissioners who wanna jump on to the project. We're gonna be performing the project in 2018 and looking for residencies around that time. Great with workshops. She's getting out there and doing some great stuff. Thank you, Heidi. Thank you, everyone. I have a little on flash drives. If you're interested, I can give you information more about the show. So just find me after. Okay, so please hold your applause because we all wait for applause and that takes up time. So we know you appreciate no clapping. Hi, everyone, I'm Allison Manning. I'm the executive director of The Yard. David White and I have a long list of things that I'm gonna highlight. David Brick and Headlong Dance Theater from Philadelphia. We are bringing them for a two week creative residency this summer and we're looking for a couple of NPN creation fund co-commissioners to help us with that. They're working on a piece called Island, which I'm not gonna go into length about because I don't have the time, but it's an amazing experiential community-based piece. He comes into various places and uses items from that place that speak to the people in that community and they participate in the moving of these objects around the space with the dancers from Headlong. Looking for partners, thanks. We're also talking about Pam Tanowitz for 2017 for a series we're calling The Formalists and many of you know her, those of you who don't, she's an amazing modern choreographer who sort of juxtaposes classical steps with modern concepts and we're looking for touring partners, she may be bringing one or two pieces, so that's 2017 and I'm gonna stop because that's all I have. Good morning, I'm Chuck Helm from the Webster Center and I wanted to tell you about a project that we're commissioning that will premiere in October by Columbus-based composer, Brian Harnetti. Brian is an electro-acoustical composer, often mining archival material to create his compositions which have a strong narrative element. In the past he's done projects for about Appalachian folk tales and music. Singer Will Oldham participated in one. His most recent project was an invitation from the people who have the Sun Raw archives. We presented the Sun Raw piece in combination with the Birmingham, Alabama folk artist and musician Lonnie Holly who records for Dust to Digital in a great archival and label out of Atlanta. They have since signed Brian in this project which is called Shawnee, Ohio, will come out on Dust to Digital at the same time as our premiere in October. Shawnee, Ohio has to deal with a small village in the Appalachian section of Ohio where Brian's family is from and it'll deal with archival as well as contemporary interviews touching upon its coalmine past and the impact of fracking in that region today. So if you're interested in work that has to deal with both rural issues and environmental issues, I think this'll be terrific. Dust to Digital will not only release a CD but actually a full-fledged book on this project. I'm sure it'll get a lot of attention. What Brian needs is touring. It will be premiered at the Rector Center at New Historical Theater in Shawnee as well as Cincinnati and Cleveland. He'd love to go back to Apple Shop where he's done NPN again and to any other theaters that be interested in this project. Thank you. It's hard to hold your applause, I know. I'm Peter DeMurro and I wear two hats today. One is the executive director of the Dance Complex in Central Square, Cambridge Mass, a 25-year-old organization on kind of a revitalized tour of itself. We're very diverse. Everything from flamenco to six kinds of African dance taught by six African nationalists, 60 faculty, and a beginning performance series for which I'd like to talk to anybody interested in partnering and bringing people to New England. We'd love to be with you and work with you. I also wear another hat as the creative director of Peter DeMurro public displays of motion. I am recently been named artist in residence for the city of Boston. I'm one of 10 folks. Yeah, it's pretty amazing. A very valuable commodity working with 10 different city departments and we're poised to work with the police department of Boston to make a series of non-flash flash mobs where the police would partner with different members of the community with whom they need to mend their relationships which is just about everybody right now. So I'm looking for a dramaturg, perhaps a videographer and future, this is in development this year, so I'm looking for future partners to bring deep community work and leave those practices, build those practices in your community as we leave you after that time. And I'm done. How exciting. Thanks. Hi, I'm Sara. I'm with the Queer Cultural Center in San Francisco and I'm here to just let you know about the National Queer Arts Performance Summit that we're gonna be having August 18th through the 21st in 2016 in Oakland. We're gonna be putting out a call for artists and presenters. It's gonna be a national call that'll be out in February and if you wanna learn more information, I have some reservations at Rogue Hall after the performances this afternoon at five o'clock. We can walk over, I have cards, I have more information and we can talk about QCC and the National Queer Performing Arts Summit. Thank you. Hi there. My name's Matthew Polkwijk. I'm the artistic director and co-founder of Mount Trimper Arts. I'm gonna very briefly, briefly talk about not so much a specific program but this new programmatic kind of umbrella we're rolling out that I'm ridiculously excited about. So Mount Trimper Arts, we're in the Catskill Mountains two hours north of New York City and we're artist-centered, artist-focused, kind of a mix between a development residency center and a presenter. And the Catskill Mountains is the watershed for New York City. It's where the great water from the bagels come from and we're in this public state-owned land that's private and public and we're actually utilizing, after we're 10 years in, we're utilizing this metaphor of the watershed to roll out this new program called the Watershed Laboratory and what it'll be, because we've always been focused on New York City performing artists and that exchange is a residency development center. So it'll be a rural, urban exchange between a partnership between New York City presenters and commissioners to develop and to present new work, kind of utilizing all those wonderful elements of that watershed metaphor. And as a way to kind of get out, and the Catskills has a long, I mean, New York City actually has a police force in the Catskill Mountains. So there's a very long, complex, rural, urban history there. So for all those reasons and to kind of continue the work we've been doing for 10 years, I'm excited about this new program. Thank you. Good morning. Good morning. Good morning. Good morning. Thank you. Kim Kay, when I reach my 10 second mark, can you just give me a twirl? Sure. Thank you. Hi, I'm Sydney Munro, the Youth Programs Manager from the Theater Offensive. Pardon if I seem a little unenthusiastic last night, seems to still be with me. The mission of the Theater Offensive is to present the diversity of lesbian, gay, bisexual and transgender lives in art so bold that it breaks the status quo, breaks through personal isolation and builds thriving communities. As the Youth Programs Manager at the Theater Offensive, this also continues in our work with youth. What we're doing in this upcoming year is finalizing a negotiation in the commissioning project with Arts Emerson to create a new and original work by and for and with LGBTQ youth that tours in the Boston area and to audiences beyond. Part of this commissioning project will include Polly Carl, What's Up, Drama Terging. We're also looking for other collaborators to finalize this original piece. But what I'm talking about today is that at the end of 2016, we're looking for other commissioners to help us continue this project. If you would like to talk to me more about it, just give me a twirl. Good morning. I can't do it as well as he just did. My name's Aaron Landsman, and I am making a multi-valent conceptual art encounter called Perfect City. It's a 10-year lab for tiny utopias. I started researching it in 2012 when I was on tour in London, and I heard a representative of Plan YC, which is New York City's 30-point sustainability plan, speak to a closed-door session for architects and developers. What was clear was that sustainability has become a marketing slogan for the ongoing campaign to ensure that our cities and therefore our democracies exclude the poor. Perfect City also starts with the understanding that city kids are urban planners from day one. They ride subways and buses before they are born. They understand access, privilege, invisible and visible boundaries, overlapping codes of behavior, informal and formal histories, at least as well as anyone else. They map the cascading failures of imagination that we call home and perform them with grace and clarity. At the same time, most of them don't go into the official field of urban planning. That's mostly taken up by people who come from the suburbs. With Crossing the Line and Abrams Art Center, I'm starting a paid working group of young people from the Lower East Side. We're gonna read together. I'll bring in stuff, they'll bring in stuff. We'll meet architects, planners and activists. And after 18 months, we're gonna present what we made at Crossing the Line in 2017. We're gonna figure out what to make as the conversation evolves. Do you wanna make your own Perfect City? 20 seconds, we have 10 seconds. Thank you. Wait a minute, I'll take 20. Do you wanna bring me and this working group out to facilitate that exchange? Do you wanna contribute to the evolutions of more just cities? Please come talk to me about ways that we can work together. Hi, I'm Karen Sherman and I make dances. My project is called Soft Goods. For the past 20 years, my primary day job has been as a freelance stagehand and technical director. So I work in the world of dance which is overly enamored with the state of being alive and technical production which has a death wish. So you work 14 hour shifts, you never see daylight. You think about dismantling a show even as you're installing it.  When you work in a job that requires you to be invisible, it's really easy to disappear from life itself. And few years ago, two technician colleagues of mine died within a week of each other. One drank himself to death and his body wasn't discovered for a week. The other one committed suicide and his body wasn't found for four months. I was really struck by how their absences could go unnoticed because their isolation resembles their skill set. So this is a project that's made in collaboration with an ensemble of stagehands and dancers is co-commissioned by the Walker Art Center, PSM 22 and American Dance Institute. It premieres in late 2016. I'm looking for additional presenting partners. I'm also looking to embed stories about technicians from the national performance community into the show itself as a kind of little secret seance. So when I talked about this project last year, many of you came up to me with stories about your crews in your local communities. I'm really interested in collecting those stories and hearing more about the people living and dead who work in this field because the crew are the people we all share. Everyone in this room has the crew in common. So if you have stories or anecdotes or jokes or amazing inventions and fixes that your crews have performed on unique problems to your space, please let me know. Thank you. Give us money. I know you've talked to me about money. My name's Velay Agandha. I'm the artistic director of Performance Space 122 in New York. I want to talk to you about a project by an artist called Samita Sinha who you will be seeing tonight with an excerpt of Cypher, but we have commissioned her next work which is called Bewilderment and Other Queer Lions. It is a meditation on the kind of diasporic experience and desire transmits Indian music tradition into a poetics of desire, including rupture, loss, possibility. She uses North Indian classical vocal music, Bal Folk from Bengal and kind of Raga as compositional tools in a structure that's going to be partly improvised, staged. It's being directed by Aime Gordon and she works with her band Tongues in Trees which includes some extraordinary guitar and percussion musicians. It's premiering in Coil this coming January so I guess we want to find further homes for that piece. It's going to be remarkable. Much more theatrical work than the one I think what you're going to see tonight. And so all I can ask you to do is make sure you come and see it in January alongside all the other shows from Coil that you're going to see this January. I've got all your number. Good morning, everyone. My name is Erin Berber-Douten. I'm on the staff here at Paika and on behalf of our local host committee I'm really pleased to introduce one of our local artists Edna Vasquez and I'm going to read a short description of her work and then Daniel who is here is also going to deliver the same information in Spanish. Edna Vasquez is a Mexican artist who has called Portland home for nearly 20 years. With decades of performance experience raging from mariachi to rock Edna has traveled far and wide to share her message of light, love and cultural healing. Today she will be sharing original compositions from her new album Sola Sorae which was released in mid-November thanks to crowd-funded community support to the tune of $20,000. Gracias. Buenos dias. Sola quería compartir la misma información en español. Edna Vasquez es una artista mexicana que ha vivido aquí en Portland, area de Portland por los últimos 20 años. Con decades de experiencia cantando música de mariachi a rock and roll Edna ha viajado por todos lados compartiendo su mensaje de luz, amor y sanación cultural. Hoy va a compartir canciones de su nuevo disco Sola Sorae y este disco estaba realizado este mes pasada con el apoyo de $20,000 de fundos comunitarios de aquí en la comunidad de Portland. Gracias. Les presento a Edna Vasquez. Good morning. This mic was a little high. I'm Edna Vasquez. I'm a cultural healer. The next song that I'll sing to you, it's in Spanish, but I really hope that we all understand it through the language of love that you advise us all. This is called Sola Sorae, alone I am. Elson, Morgan Thorson, Mark Valdez, Matthew Slaths, Peter Hay, Andrew Wood, Helanius Wilkins, Christopher Morgan, Sean Dorsey, Shil George. So please come line up if you want your forms, they're here. Good morning. I'm Phillip Elson, I'm with the Seldums in Chicago. We just recently started our first national tour of Power Goes, a work about power and politics to enact social change, looking at the presidency of Lyndon Baines Johnson. We're now moving on creating a companion piece for that called Rock Citizen, which is based on counterculture, looking at how sex, drugs, and rock and roll help to redefine and reclaim citizenship in the 60s. We were part of a pilot residency at the New Center for National Center for Choreography in Ohio, a partnership with the University of Akron as well as Dance Cleveland. And with that support, we were able to create this really beautiful brascape. It's a set of 216 woven bras. It's pretty stellar and fantastic, and I have some pictures of it if you would like to see it. The work is premiering in Chicago. It is being presented by the Chicago Department of Cultural Affairs and Special Events. It'll be at the storefront theater for the first two weeks of May. And at this time, we are looking for other presenters or people to be involved in any of the way. Thank you. Morning. Morning? Morning. My name's Morgan Borson, and I live in Minneapolis, I'm a choreographer. And I'm making a piece right now called Still Life. And Still Life looks at extinction and death and uses qualities that are associated with extinction and death like stonies, decay, inertia, and time, and proposes a space for long-form choreography, public mourning, and contemplation. One of the things that I'm looking at is making a dance cycle that repeats itself until it dies. And I'm also creating a space for easy audience address. So basically, you could just say that this is a piece for quitters. The dance dies and the audience leaves. I have some fantastic partners, space 122, American Dance Institute. I have a creation fund, I have NDP support. I'm looking for some other venues that might be interested in giving us residency time as well as performance time. And some companion programming to this produces eco theology and an examination of whiteness. And so if you're interested in any and all of those things, please come and talk to me. Thank you. Morning, y'all. My name is Mark Galdes and I am working on the project. I've been thinking a lot about what it means to be Latino now in 2015, 2016 in the United States. And as conversations are being dominated around immigration, there are so many other aspects to Latinidad, Latino identity that I think sometimes get eclipsed. And so Lead Commissioner of Mixed Blood in Minneapolis, I am collaborating with two re-commissioned, we are commissioning 15 Latino artists across discipline. We've got playwrights such as Tanya Saracho-Christiaz, Octavia Solis, Michael Garces, some others. We've got musician Maria Isas-Coriographer. I'm blanking on names up here, but across disciplines, I'm still looking for two visual artists. So Latino visual artists, come and introduce yourselves. We're looking for some commissioning support and some presenting support. This will be, it's gonna go up our first version in March in Minneapolis at Mixed Blood. The whole concept is a dance party. So it's looking at Latino identity via the form and structure of a dance. We've got this amazing DJ who will be playing music. And really just thinking like sometimes words are difficult in thinking about race and identity. And so starting with movement. So thanks. Hi, I'm, my name is Shailu George. I'm here from, I grew up here in the Malans. And I am an artist. I'm working on a piece called the Fat Femm Warrior Project.  And how I keep myself safe and how I identify. I've made a couple of pieces which are a war club and I've made a breastplate. Those I use materials that I find around me. So most of the work has been with shattered mirror with using silver spray paints. And then I also use silver duct tape instead of leather. As sort of that tradition of as an indigenous person using what you have available to you. And I'm looking to create more pieces such as a wing dress, moccasins, jewelry and perhaps a gauntlet for my hands. The pieces are made for me to be worn very carefully since I use dangerous and sharp objects like mirrors or blackberry rambles. But they can also be shown as separate pieces. And I'm looking for some help with residency so I can create more pieces and then also space to show the pieces as well. Hi, Massey. Morning, everybody. My name is Matthew Slats. I'm with the bridge in Charlottesville, Virginia where we build community through the arts. We pair artists up with our community members to address needs in our community. The two things that I wanna hit on really briefly that MK mentioned yesterday, this denying of plurality in the creativity of our cities and really thinking about how do our creative practices become civic practices? With that, we are piloting a program that we're calling Community Culture Engine. It uses a participatory budgeting model. Anybody of you know about this? This takes our tax money and lets us decide how to spend it in our communities. But we're going to put $15,000 into a low income neighborhood next year. We're gonna let residents tell us what they need in their communities and allow artists to respond to those needs. And then the residents are gonna decide which projects take place. So we're piloting that this fall or next fall. And so really what we're thinking about is how do we take this model and actually make it go nationwide? There's a great program in Cleveland that's doing similar things. But we're really looking for partners and ideas of thinking about how do we have this relationship with our communities in a much deeper way? And as MK mentioned yesterday, how do we build that pie? Make it a little bigger. Thank you. Hi, my name is Helenius J. Wilkins. And heritage, heart, and soul are the ingredients that are at the foundation of my new project. My new work is an extension of my 2012 evening link solo project, Closer. It is titled, Abon Kerr. It is a Cajun French term that can be translated to mean to do something wholeheartedly. Bon Kerr also means good heart. For this work, I am drawing on my Creole cultural ties and growing up in Lafayette, Louisiana. It is inspired by notions of bloodlines, memory, legacy, and continuance. For this work, I am anticipating it to be premiered in 2018, spring or fall. Leading up to this point, I'm looking forward to engaging partners, individuals, and conversations about possible residencies for the creation of the project, as well as opportunities to workshop the project leading to a self-launch of it and the premiere and touring of it. For me, an aspect of what's going on in the world today is directly connected to being disconnected and isolated and not really listening and being more reactionary in the process. And I'm hoping that through this project that I can create a vehicle for us to create a sense of connectivity and community and come back to understanding that heritage, heart, and soul can lead to embracing lots of diversity and also bring us closer together as a community. Thanks. Hi, my name is Christopher Morgan. I'm a dance maker based in the Washington, D.C. area. And I'm working on a new project called Mixed Plate. As the youngest child in a really large Hawaiian family, I had to make rice every night for dinner. And it became the backdrop for a really wide array of foods that we would eat as a multi-ethnic family. I made that, that inspired a solo that I made many years ago and every time I performed it, people would come up to me and tell me all these things about rice or other foods and the memories that it brought up. And that really inspired me to think about how food is a universal. No one stopped eating hummus after the middle, you know, after the most recent Parisian attacks. And all of these things can coexist on a plate in a way that we don't think twice about now, especially in the United States. So as I started to think about the reactions I had to this work rice and what I see happening in cuisine, but maybe not happening in other parts of our culture and that kind of acceptance that happens, I thought what a great opportunity to bridge and bring in people who may be averse to that kind of communion and also to bring in audiences who might be afraid of contemporary art and food is always the way in. So I'm looking for commissioners for this project. I've been in touch with the Maui Arts and Cultural Center in the Cleary Smith Performing Arts in Maryland where they're both interested in it. And I'm looking for a way to create an evening of different pieces about food and memory. And at the conclusion of it, the audience and artists alike share that meal. So it'd be for intimate audiences in a small setting that's willing to have food in their space. Hi, I'm Peter Hay. I'm the Director of Development and PR for Living Arts of Tulsa.  So thank you very much for coming to Tulsa last year. And out of that came a partnership and an idea for a new project that will premiere in May of 2020, which is the year before the 100th anniversary of the Tulsa Race Riot. And Living Arts of Tulsa is planning on working with San Francisco International Arts Festival and Theater North, which is composed of people who are descendants of the experience of the 1921 Race Riot, Rodney Clark and Maybell Wallace both have personal ties through family to people who either were affected by or deceased in the actual Race Riot. Theater North plans on creating a production that provides a chronological experience of the Race Riot and the story will be told through drama, music, video, dance, and other multidisciplinary theatrical elements. And in partnership with Theater North, we have been in communication with Marcus Selby from San Francisco. He's a well-known jazz musician. He's worked on projects such as Bound for the Promise Land, Harriet Tubman and Beyond Blues, a prison oratorio. So we feel like between him and Theater North, this is a really great pairing to fully represent this project for the centennial. So we're looking for co-commissioners and residency time to help further develop this project.  So if you're interested, please feel free to contact me. Andrew Wood, San Francisco International Arts Festival. As Peter said, we are co-commissioners with that project and we'd love anybody else to get involved as well. Two other projects that we are working on than both of these have been workshopped and we have scripts and we have work samples but we're looking to actually produce them now. One is from Iran or Persian. The other is indigenous, Native American. We have one project that we're working on with Milafruat Alibe. She's an Iranian composer, I'm sorry, librettist, she writes operas. And she has translated the work of Ahmad Shamlou who was a seminal Iranian poet and activist. He was imprisoned by three different Iranian regimes over the course of his life and we are creating an opera about his life called Abraham in Flames and it will premiere even if 2017 or maybe it's 2018. We're looking for co-commissioners. Like I said, Milafruat is the librettist. She's working with composer Paola Prestini from New York and director Roy Rallo. We're also working with the Esalen Nation, the Lonely Costinone Esalen Nation or a 600 member tribe from Monterey Bay. They're not federally recognized. They're trying to become federally recognized and in the process of doing so, they are revitalizing their language, taking their language back. So we're working with them back to 12 from East Salinas to create a piece called Aya, the Esalen Remember. It's about their creation myth. It's about the mission period and it's also about MLD, about being the most likely descendant. So what they do a lot of is go and get, they have to, time. Okay, thank you. Hello, I'm Sean Dorsey and my company is Sean Dorsey Dance. I'm a transgender dance maker based in San Francisco and I want you to bring my new project, The Missing Generation, to your community. The Missing Generation gives voice to longtime survivors of the very early part of the AIDS epidemic. I created the work over a two year period by traveling across the US and talking to longtime survivors. So people who witnessed the loss of part of an entire generation of gay and transgender people to HIV and AIDS. I created the work with support from the NPN Creation Fund, the H Dance Festival was the lead commissioner along with five other court commissioners, National Dance Project, NEA and many others. I recorded over 75 hours of oral histories and spent over 500 hours crafting a gorgeous score with a team of composers and then spent a year in the studio making the work. This is a full throttle dance that's performed with precision and guts and deep humanity. It's a very powerful work that travels with an amazing range of intergenerational community engagement activities. I'm also looking for more commissioners for my new project which is called Boys in Trouble and I have a great funding opportunity for court commissioners that's time-sensitive, so talk to me. Boys in Trouble will investigate outsider perspectives of masculinity. So things like transgender masculinity, black queer masculinity, aging masculinity, also created over a two year period, community engagement residencies, talk to me. Thank you. Great, next 10. Christina Wong, Leilani, Joan and Andrea, Leticia Bajillo, Madison Carrillo, Jane Gabriels, cultural odyssey, Rodessa Jones. Is that 10? That's five, okay, here we go. Drop the privilege, not your bombs, drop your fears and not your sounds, trust potential and keep calm because we sent you, yo, Christina Wong. All right, so in 2013 I went to post conflict more than Uganda to work for a microlone organization for three weeks and research a new show that would be called the Wong Street Journal that I thought would be about the abstract concept of global poverty. Instead what happened was I was tripping over my new found white privilege, I am white over there, what it was like to finally step out of the armchair activist role and I found about the total racket that is voluntarism. Guys in the street who I thought were the underground gay community, I followed all these men into a dark room, it turns out they were rappers and I started to record a rap album called Missoulu Price, which is now played on the radio in northern Uganda. I am the Iggy Azalea of northern Uganda. All right, so this is the show, it's the Wong Street Journal and is already premiered in San Francisco, it was also commissioned by three partners. I would love to invite you to come see the show next year in 2016 when it goes to Miami Light Project, the Kimmel in Philadelphia, Intermedia and Blomarts is gonna present it in Portland. I'm happy to comp you if you are in the position to present it more. The rest of you can pay for your tickets. Thank you, she knows for my new show, it's called BJs in China and it's about Vermont and China and the inter, oh shit, all right, thank you. Christy. We are here representing the consortium of Asian American theaters and artists, so we're from three different organizations that are part of one big national organization and we are here to invite all of you to come back to Oregon in October 2016 for the National Asian American Theater Festival and Conference at the Oregon Shakespeare Festival. So come back and we want all of you to be there, you'll see the best of the best of art in the United States and also we're good, if you wanna find out more about that, we're having dinner at Cassidy's at seven o'clock. Don't meet us in the lobby at 6.45 and we'll walk over together. I also wanted to let folks know if they could send stuff out to Asian American API artists who are in the room. We have an RFP that's out on the website, kata.net, for everyone in the room and artists that they know were extending the deadline to February, to January 5th, but that's not out currently, so just between us. And I'm here to tell you that if you self-identify in any way as Asian American, whether that is West Asian or Central Asian or South Asian or East Asian or any of the diasporas thereof, then you are welcome to submit your work and participate and become a member of kata and we hope to see you again soon. It's an expansive definition of theater as well. Hi, my name's Letitia Bajuro and I'm a visual artist. I've been thankfully introduced to Vane through Chris Cowden and everyone over at Women in the Work in Austin, Texas, where we're going next year for this annual meeting and one of the things I did there is I created a CD sculpture, so I have this thing about old media. I feel bad for it. I don't know what it is about the empathy or maybe I just have a couple of other issues I need to think about a little further, but I want your old crap. One of the benefits of living in Indiana, Madison, Indiana, it lacks a lot of things, but a pro is cheap real estate. So I own a 7,000 square foot building where my studio is. So yeah, lots of space. And the line between a hoarder and a sculptor is just acknowledgement. So things that I like to collect largely are CDs because I see them that once upon a time I couldn't have them. I didn't have a CD player. I didn't have enough money to buy a CD. I don't know what band to even buy. It's not really cool enough at all to know what to do with it. So I saw GoFund's magical thing to now. When was the last time you bought a CD or DVD? We downloaded everything. So in just a number of years, a three decade period, we've seen it go from wanted to unwanted. But the same thing with player piano roles, VHS tapes, any other kind of media where we had this desire to collect, to be able to analyze and to share our thoughts. So all of the memories in there, but just because they are no longer wanted and they changed, we changed.  So contact me, look me up and email me. I'd like to help. Thanks. You guys still awake? All right, let's get up for a second. Because mine's gonna be really short so you're gonna have time to do some different things. Let's get up and stretch. My name is Madison Carrier and I'm the director of the Office of the Arts down in Atlanta at Georgia Tech. And yeah, that's right. I'm looking for artists, presenters, producers, alchemists and makers of all kinds to investigate and create what's next. And when I'm talking about what's next, I'm talking about the things that are in between the spaces and the spaces in between art, science, technology and humanity. So basically, I'm looking for superheroes. Anybody out there claim they're a superhero? Then I want you to come on down and visit me and share a meal in some space. We're looking for people who are interested in creative vulnerability, ambiguity and collisions. Thank you. Hello, my name is Jane Gabriellis and I'm the director of Pepe Tien, located in the South Bronx. I'm here with an invitation. Pepe Tien supports contemporary work by Afro-Caribbean Latino artists and other Bronx-based artists. If you're in New York in January, please come to the Bronx Artists Now Showcase and Conversation. It's happening Friday, January 15th. Do you want to see 12 artists showcases and have a buffet lunch with vegan options? And a conversation afterward, that was for you, Galanda. A conversation afterward about making artwork, making work in the Bronx and how recent changes, i.e. gentrification, is affecting making work in the Bronx. All you have to do is show up at the Hilton Hotel before nine in the morning. A trolley risks you up to the Bronx. We're gonna go to the Bronx Academy of Arts and Dance and the 12 artists, whether they're in dance, spoken word, music, film, Nini Ali, Beatrice Capote, I mean, I have a list of names, but they're really beautiful artists that are, everyone's beautiful, but they're really pushing their artwork out there and we'd really love to have you part of it. Another, since I have time, there's another small project that I'm trying to figure out. I want to develop an exchange residency between First Nation in Canada and some artists in the Bronx that have ties to Caribbean indigenous and that's in baby steps. So if you have ideas or suggestions of how I start that process, that would be really nice. Thank you. Good morning, good morning, good morning. I'm Odessa Jones of Cultural Odyssey and this is Idris Acomar and we're here to invite you to participate as a co-commissioner, site, place of a piece that I'm doing entitled Facing 70, Fully Awake, The End of Time Has Begun and Heaven Better Be a Honky Tonk, okay? So the piece is a ritual of memory time, place of music. We've already done two workshop events around it. We'd like to come to your city with live music and talk to folks that are Facing 70 or folks that are already 70 and beyond. I wanna talk to people that are alive now. I mean, because honey, I'm ready to roll, okay? I turned 67, I am ready to roll.  So that's what the piece is about and I want you just to consider that it's also about what will we fill those spaces with when we are passed on? We were talking about food earlier, my grandmother, my mother made something called jelly cake and when my mother died, my older brothers and sisters were furious because we didn't put the jelly cake in the obituary and we are the younger ones, we're like jelly cake but it was one of those things that they remembered. So in my piece, we have jelly cake as a sacrament and I'm gonna pass it to Idris so he can talk about his music. You're very quick, in 10 seconds, in 10 seconds, I just wanna say, I haven't been at the annual meetings because I've been touring all over Europe for the last five years with my band, The Pyramids, which has been, I was founded three years ago from the same breath as the Auto Ensemble and Sun Rock and we wanna come to your place, Idris Hockable and The Pyramids, we're back, we're doing it all over Europe, got a new album coming out, thank you. Excellent. Thank you. Misha Matraeik, Pat Graney, Ed Newman, Holcombe Waller, Cynthia Oliver, Michael Sakamoto, Aaron Wipi, Lionel Popkin, Tannis Korolkic and Dance Place. Is it this mic or this mic? I guess it doesn't matter. Okay, I'm Nina Matraeik, I'm an animator and performer. And I've been traveling here with my solo pieces, this will be a self-improvement structure for the last two years, going a lot of MTM partner spaces and other museums and science conferences and stuff like that. My concern as an artist is to make the invisible world visible and create transcendent elements of dreamlike transformation, taking scientific ideas and visualize and physicalize them into emotional dreamlike ways. Because I'm an animator, my pieces are often kind of in the juxtaposition of the cinematic theatrical. My new piece is called Intimately Yours, that I've just in a very early state of kind of research and development. It's kind of about the paradox of the harmony and discord of human nature versus nature, how human nature tries to control and deny the natural world, at the same time being organic beings that you're in for the natural world. The piece will be a visual tapestry of sort of the nightmare and dreamlike tableaus of climate change and the Anthropocene, which is where the new era that we're kind of pushing the world into where human actions define what is happening to the planet rather than natural systems and cells anymore. I'm looking for commission and presenting partners, especially with connections to university and scientific institutions. I'm looking for access to discussions of scientists and also looking for locations and ways that I can get video footage and photos that will populate the visual worlds that I'm creating in the animations. Thank you, Mike. Ed Nuenan, I'm a playwright. My work's been done for over 40 years in the Northwest, Chicago and off-Broadway, awards, et cetera. I've been working on a play since 2006 called Deserving Art. It takes place at an NEA grant panel where a couple of the panelists, the panelists are there to create a guerrilla action to protest the NEA model at that time. A great nation deserves great art. It's a play about the power of art and how people try to use, abuse, control and contain it. The first 20 minutes were done at Northwest New Works and on the board. The play is done in kind of a black box style that goes off in all kinds of different theatrical directions, telling stories. The first 20 minutes are like theater games. As the play advances, it will do all kinds of forms such as a musical called How Three Women Consultants Destroyed the Arts. An animal fable called How the Cheney Bird Created the Montana Symphony and Destroyed the World. A war-action adventure called How Two Gay Army Band Members Won the War. I'm looking for some creation fund contributors. The first 20 minutes are at BMEO. I can give you the number. Hi there, I'm Aaron Whitby and I'm here to talk about Bone Hill, which is a devised musical theater piece which is being written by Martha Redbone, Rebirth Bruno, probably a lot of you might know and myself. And it came out of a commission from Joseph Publinchan, it's a fake, and my voice is about a year or so ago. And it's a story, Bone Hill's a story of my wife, Martha's family in Appalachia. And there is really kind of the most familiar thing about it probably is that it's a coal mine in family in Appalachia. But they're a brown family in Appalachia, which is less common.  And all her life she's kind of been, people have made assumptions about who she is, challenged who she is, told her who she is, told her who she should be. And we kind of start from this perspective of who is this lady. And she wants to tell you her story and her story is really about a kind of invisible American story, which is about the Cherokees who came back after the long walk. So there's the removal act. People are driven to Oklahoma. Some of them came back. And there's a reason they came back to an ancestral land and that's kind of the important part of the spin. Anyway, we've got Creation Fund. We've got some support from NTP, NIFA. We're looking for more co-commissioners, places to perform it. And we're presenting the concert version at APAP next month for three, three nights at Joe's pub. So hopefully see someone there. Hi, folks. Michael Sakamoto, dance theater artist based in Iowa, LA and Thailand. I have two projects coming up, continuing my trilogy of performed intercultural conversations that began with my current Bouto hip hop dance theater duet flash with myself and the insanely real, Renny Harris. Both shows are about America's relationship with Southeast Asia through personal narrative. One from the perspective of Thai Vietnamese and Cambodian dancers. And the other through a transnational Asian American myself. The first project, Soil, is about mostly developed. We have NDP funding. We just found out the first night I was here that we got the production residency development grant. So basically looking for a partner for the final production residency and possibly the premier. In essence, it is a dance trio with classical Cambodian traditional Thai, Western post modern dance, all through an inter-culturally and collaboratively defined contemporary lens. War, genocide, refugees, political violence, environmental devastation from the mid 20th century to the present. All the normal stuff. And we make papaya salad on stage throughout the whole piece and then we serve it. And everything's a metaphor and an embodiment of cultural sustainability. And that's really our goal. Blind Spot is an intermediate performance solo which I've also been developing. I've already performed two works in progress and Bangkok deals with corporate militarization and self-censorship through personal, thank you, through personal narrative of living in the US and a Thai military dictatorship. Looking for commissioners, funders to basically hire media artists and designer collaborators. It's a small budget. And I can host the development. Thank you. Hi, everybody. I'm Cynthia Oliver, choreographer, writer. I am working on a new project called Virago Mandem. It is my first venture into the world of men. After spending a career excavating the lives of black women, I've decided that I think considering our contemporary climate it's time to look at the lives of men. So it's a nuanced, complex examination, meditation on Caribbean, Afro-Caribbean and African-American manhood. I'm collaborating on it with graphic, novel, visual artist John Jennings, who is an Afro-futurist, composer Jason Finkelman. And I have already started work on it with the help of Vermont Performance Lab. We have a residency at Mansi. We've got some support from Gibney Dance in New York. We'll be premiering it in spring 2017, and we are looking for partners. Thank you. Hi, everybody. This is my first NPN conference, and I've lost my voice. It must be going well. My name is Tannis Koalchuk, and I'm the Artistic Director of NACL Theater, and we're based in a room in New York, about two and a half to three hours from New York City, Northwest. And we have a space and we present, but we also make work. And so I want to tell you about a new play that we're working on. It's called Courage, and it's an outdoor, epic walking play inspired by Mother Courage and New Children by Bertolt Brecht. This is a continuation of our work, building large plays without a community, with community members actually performing with us. So Courage will feature the NACL Performing Ensemble along with community members who are teaching to stilt walk right now. So we're holding weekly stilt walking classes. We're called the NACL Stilt Corps. And the goal is to teach about 40 or 50 community members between the ages of 13 and 65, that's our oldest person right now, to stilt walk and go play the army, the stilt army in the performance. We're also working with an incredible composer named Rima Fand, who's making Balkan-inspired choral songs, Balkan music songs. And these songs will be sung also by community members who are gonna be in the chorus. So it's this non-epicetic walking tale that will be done at a farm, and I want to invite you all to come and see it this summer. You can stay at our theater with a big house, or you can camp on my farm. Thank you. Hello everyone, good morning. My name's Lionel Popkin, I'm a choreographer. Working on a new piece for 1617, it's called Inflatable Trio. It's about 70% funded. And I'm in a phase, well, I'm in a phase in my life where I now think about phases in my life. I have an eight-year-old child, about a year ago, I acquired a dog, and I'm spending a lot of time at home. And I'm starting to think about these objects and these people and these beings that are around us and how they're supporting us, how they're not supporting us, how our proximity and distance from them is influencing us. So the set for this piece is an inflatable yellow plastic living room. It gets blown up, it disappears, we're lying on it, it gets destroyed. It's supporting us with air. And we are supported with air because we breathe. So we take that in to ourselves and is part of the piece, we're blowing air into each other, we're having contests for who can hold our breath the longest. So I'm trying to look at a very simple thing, which is air and how it supports us and the objects around us. And it's quite fun when we jump on them. So I'm gonna show a little bit of it at APAP in January. If you're there, please come have a look at it. It's moving forward, it needs the same things that everything needs, but if you can't provide that, a little of an encouragement would go a long way. So thank you. I am Carla Perler with Dance Place and we have three new projects in the works. One of them is the Marvin Gaye Project, what's going on and Vincent Thomas will speak to you about that. So if everybody could just stand, actually just lift your arms up really high and you can't really reach up that high so if you could just stand up and continue to reach up high. Now you gotta stand up. What's as high as you can reach? What's as high as you can reach? Okay, great. That's called lifted, now you can sit down and that's the name of the new work that Renny Harris is gonna make. If I could sing gospel, I'd sing it for you now, but I can't. So if you have a love for hip hop and you have a place in your heart for gospel music, this would be a piece for you. We're looking for co-commissioners and presenters. It'll be ready to tour, we hope by the end of the spring of 2017 and we're looking for partners. The other one is Giselle Mason's new work, Empithesis and Giselle Mason is a marvelous dancer, choreographer, director and teacher. Many of you know her and this new work, Empithesis, collides the genres, bodies and cultures of postmodern and erotic dance in order to challenge how female sexuality is perceived, performed and represented. Oh, do you have any strip clubs? Do you have any strip clubs in your town? Okay, if you do this project it might be for you because it's gonna be on stage and in strip clubs. Deborah, Sarah Kay and myself are here. You can talk to us about these projects and we have some printed information. Thanks. Hi, I'm Holcombe Roller and I wanted to share three ideas for the future. The first is surfacing, which you saw at the annual showcase in New Orleans in 2013 is still touring. It's very fun if you want an anarchist, communist, activist, pacifist, music theater piece. I'm your man. And we have great footage of it from Brazil. Thank you, Elizabeth Dowd. So if you'd like that footage, I'd love to share it with you. Second, we just premiered, some of you may have seen, Requiem Mass LGBT Slash Working Title here at the Trinity Episcopal and Cathedral in September as part of TBA Festival. It's a piece that envisions choral singing as direct action and engages with civic partners, advancing issues of gender and sexual diversity in communities of faith. If you're interested in having a deep kind of community engagement project that's a longer term in your city, I'd love to talk to you more about that. And again, we have great footage of that as well. It's like watching TV on an airplane. It's really emotional. And then third thing, I'd love to share it with you. Third thing, I'm looking for new commissioners or really anyone who wants to keep working with me. On a future project called hashtag climate ceremony, it kind of combines these two projects. Again, working with choral singing as direct action, applying it to secular social ceremony, like activist chant and anthems and like birthday songs and campfire narratives and creating a meme called hashtag climate ceremony around which people can kind of create consensus for us through singing around our desire for a peaceful, sustainable future. Thank you. Great. Next group. Lisa Mount, Nick Slye, Owen Wilder, Rosie Seamus, Sage Crump, Amy Miller, Bill Weaver, Stephanie McKee, Rory Trainor and the Brinell Arts Center. Good morning, everyone. My name's Lisa Mount. In addition to living in New Orleans, I live in a place called Satinakuchi, Georgia. Satinakuchi is a Cherokee name meeting mood in place in the valley of the evening star. And can I please to tell you that we have now opened the home for wayward girls and their dogs in Satinakuchi and we would like to invite you to consider being in residence for a very short period of time. We have a 600 square foot light drenched rehearsal studio that has very bright acoustics. We have residency space for up to six people at a time. We sit on 10 wooded acres in the midst of hundreds of acres of Appalachian bog forest in the beautiful northeastern portion of Georgia, about 100 miles northeast of Atlanta. We open the space in July, 2015 and it is now ready to welcome artists and cultural workers for short term, which is one week maximum. Residences to move and think and create and rest and hike and imagine. Facilitation resources are available through my company, Artistic Logistics.  There is a highly subjective process for those who are selected for residency because it's our house. So we don't have to be fair. If you're interested, please see me or MK. Thank you. Good morning everybody. My name's Nick Slive from New Orleans, Louisiana. I work with a company called Mondo Pizarro and we're working on a new piece called Field Guiding. That's a working title. It's inspired by the book by Rebecca Solman, a field guide to getting lost and a book by John Berger called In Our Faces, My Heart Brief His Photos, which in both books were really inspired by this notion that these little small glowing devices that we hold have sort of mapped and categorized the world but what's the role of uncharted territory of getting lost? So for the last two months, we've been trying to get ourselves and our community lost. And some of the things we think that the piece is gonna be about, we know that the work takes place at sunrise, outdoors. It's gonna move from outdoors to indoors. There's a lot of crankies, which are sort of these 19th century scrolling devices, big ones and small ones that are gonna animate the set. The set is being built out of recycled cardboard and styrofoam and is being, we're working with the set design team that just did this film, Me and Earl and the Dying Girl, which won the grand jury prize at Sundance. It's gonna take place in New Orleans. Rebecca Solman's gonna be part of it. She just doesn't know it yet. So the other people that are non-arts partners we've been working with are cartographers, neuroscientists, hospice nurses, death metal bands, and the queen of know-it-alls, Suri, who's been a big part of our process so far. That's gonna premiere in December 2016 and we're really, we're looking for co-commissioners and people to come see the work. And if anyone has a phone number or an address for John Berger, it would be very helpful. Thank you very much. I'm Arlene Wilder. I'm half of the 22-year choreographic collaboration known as High Jack. We are in the early stages of a new project called Aftermath. Aftermath is made in the afterglow and crisis of working with Lisa Nelson in her tuning scores. We're looking for commissioners or maybe airline tickets because we've inconveniently chosen to work with a lot of our heroes and favorites despite the fact that they live in a very long Oakland Seattle and New Mexico. Aftermath allows us to be processed geeks obsessed with esoteric technique, outdated technology, science, magic, hogwash, and let the appalling cultural references rise. So far these dogs are made to be held in the suite alone. They are precarious as flower petals, as nebulous as communication. We're trying not to ruin them by making them. They're completely set and completely improvised. We get to work with the stunning Lisa Nelson, Karen Nelson, Margaret Gallinger, Naomi Joy, and Logan Barson. Thanks. It's always nice to follow your friend. I'm Rosie Seamus. I am Seneca, I'm in Duwaga. This is... I'm Hyde Erdrich. I'm Ojibwe from Turtle Mountain. SKINZ is my new project. It's a 2015 Creation Fund project. It shares the beauty and diversity of how Native people identify and examines the contradictions, pride, joy, pain, and sorrow that arise out of our many dimensions of identity. SKINZ is a series of participatory experiences for artists, community, and audiences, employing a circular model of creation, birth, love, death, birth. So we're eliminating the concept of a premiere. In this cyclical fashion of creating research, rehearsal, discussion, performance, research, in our residencies, we will have a continually evolving work. So I'm a Seneca choreographer and I am bringing together Native artists and organizations, including all my relations, arts, and the Inner Tribal Friendship House in Oakland. With Native artists, Ojibwe filmmaker Elizabeth Day, Ojibwe Omida Dramaturg, actor Ty Defoe, and Ojibwe poet Hyde Erdrich. Okay, then I'm gonna give it up to her. Commissioners are in the Media Arts, the Pena, East Side Arts Alliance. What do we need? We actually need people to come and participate in the process with us and we need two Native performers who work and dance. All my relations, arts, needs a gallery, director slash curator, and you can talk to me about that so I can go back to making plamels, tiny film films, and doing whatever roles he wants me to do. We also need phone tour partners. Good morning, my name is Stephanie McKee. I'm the artistic director of Junebug Productions and Junebug Productions just received National Theater Project funding for Gomila to return movement of our mother tongue. The idea began in Congo Square and it looks at the auction block, the naming, claiming, and reframing of a city. Gomila is a multidisciplinary piece exploring the idea of place matters, gentrification, the right to return of a displaced people, but more importantly, it looks at the beauty and resilience of a people both past and present. Collaborators are Sonny Patterson, Trumpeter Troy Sawyer, and Kombuka African Drum and Dance Collective. We're hoping that this will be ready to tour by spring of 2017. We are looking for development residencies, thought partners, co-commissioners, I need a sound designer, dramaturg, and other workshop opportunities. Thank you. Rory Treanor with Alverna Presents, and I have a lot to say, so this is gonna be void of personality. We are looking for co-commissioners on a project from Jamie Fennelly, who is a solar practice mind over mirrors. This is a new piece where he's departing from the solar work and creating an ensemble piece. It is a full length 90 minute performance that will hopefully premiere in 2017. His solo practice is done with Indian pedal harmonium, the Oberheim Analog Synthesizer, taped delays and effects processors. The ensemble will include vocal arrangements and performance from Haley Four of circuit Dio. Guitar deconstructionist Chris Forsythe, multi-instrumentalist Sean Hansen, and percussionist by John Mueller of Death Blues. Quick description, maintaining key characteristics of his multi-timbrel arrangements where acoustic brass reeds, electronic oscillators and filters tonally and rhythmically fold into each other to create one distinct radiant voice. Belling Sun places these compositional approaches onto a unified ensemble with expanded instrumentation, including harpsichord compact electric organs with Leslie rotating speakers, piano, orchestral and non-western percussion. It's in the round, audience can sit in chairs or lay down on the ground and there's a sculpture above them as they face each other with light and things. Seeking out, thanks. Good morning everyone, I'm Amy Miller. I'm based in New York City with Penteco. And I wanna talk to you this morning about experience that I have working with community engagement, programming as a practitioner of social dance forms. I've become interested in the trend of embodied conversation that happens between bodies in space listening to live music and dance. And now that I'm on the side of representing some artists and working with artists, I have two that I'd like to talk to you about that are offering ways of knowing through the body and learning cross-culturally through the body and interaction with live music and dance. One is Max Pollock from the TAP, who is fusing, Max Pollock is fusing American tap dance with Cuban audition and Cuban rhythms and dance. His performance is just as much a music show as it is a dance show, so it's great for presenters that are looking to build dance audiences and maybe connect their music audiences with their dance, future dance audiences. He's just released an album this last summer that has tap as the lead voice on the album. He's worked with artists like Bobby Sanabria and Pedro Martínez who are on that album. And he's working with a project with Samuel Torres, a Colombian percussionist. So if you're interested in hearing more about that, percussive body with music, come on and talk to me. And then I'm working with Sakumu Dance Company that is Acoustic Geo, which is a xylophone from Northern Ghana with a very embodied polyrhythmic dance. Wonderful for various ages. Also great, come on and talk to me if you're interested in Sakumu from Ghana. Thank you. How are your memories kept when your heart drives crash? How do you archive the past? These are the stories that we steal when our DNA, these are the songs that we pass on throughout DNA. I want you to take your pain, your laying down notes with or use your invisible ink and write it down in your mind. What is one way that you keep memories? We are all the guardians of the seeds. Stories are the seeds of our memories. Most of our social justice movement memories have been genetically modified and turned to generic and flatten singular story versions of their complex truths. In order to grow new fields and possibilities of revolutionary transformative movement building, we must save the heirloom seeds that contain these complex stories. For the past year, my collective complex movements based in Detroit through our project Beware of the Dandelions has been working deeply with communities and partnering to convene stories seed saving circles in which we collect stories of hyper-local untold social justice movements. We map those movement memories and interactive immersive installations that facilitate presence. The more present we are, the more we remember and the more we remember the more we can evolve. We will partner with communities to intentionally continue saving these stories and pass them on in context. So if you're interested in partnering with us to collect untold movement stories in your community or supporting artists and activists as archivists with agency to tell our own stories, hit me up and remember we are all guardians of the seeds. Thank you. And I'm Asia Freeman here all the way from Alaska where it's cold and it's cold here and I could have gotten to Hawaii almost as quickly but I wanted to warm up with all of you and connect. I wanna talk to you about a couple of different exciting projects. I'm looking for commissioners and co-presenters that address decolonization and indigeneity through some interesting reversals. The first is a piece of theater written by indigenous Alaskan Yupik playwright Jack Dalton that looks at Alaska's boarding school history. It looks at retelling the story by recasting. Essentially when Alaska's elders were sent to boarding schools, they were brutally traumatized and assimilated, lost their language, returned home, couldn't speak with their grandmothers. In this play whites are the people being reeducated. The play does an amazing job of telling the story without re-traumatizing as elders, Alaska native elders are the teachers and the people who run the school. And so the audience is engaged and implicated in really powerful ways and the play concludes with a healing circle. It's a remarkable, remarkable piece and we'd like to see it tour in the Northwest. We're also presenting Decolonizing Alaska. This exhibit looks at how indigenous artists have influenced non-native artists and the kind of confluence and reciprocity that happens by looking closely at indigenous technologies and global technologies and how both are feeding, changing and moving forward in Alaska. So if you're interested in either of these projects, please come talk to me, Asia at banellarts.org. Morning everyone, my name is Sage Crump. I actually have an address on my driver's license but I live on the road. And because I live on the road, a few years ago as I was traveling, I kept noticing that everyone was doing these timelines, retrospectives, whether they were organizing spaces, art spaces, at conferences. And I started wondering what happens if you lay all of those timelines against each other and connect them all? What's the story that would tell? And so in my mind, I began to think about this project I am currently calling the People's History of Art and Culture. If you're familiar with Howard Zinn's work, it's sort of how do we nuance and complicate the story of our field? I'm looking at questions like what does redlining have to do with the number of art spaces that people of color currently have? I'm looking at questions like who thrived coming out of the WPA? Who died in obscurity and why? And so what I'm looking for in this piece, this work that was originally a book but I don't really know it, it's gonna look like it. Our stories, we have a lot of data, we have a lot of critical work. But I want to make it a combination of both artistic reflections, critical work, essays, and stories. And so I'm looking for people to talk to. I've got some support to travel so if I can find clusters of folk, I will come and cook you dinner. We can also Skype date with a little baby. I'm also looking for a residency space so I can come somewhere and get all beautiful mind and throw these things up and figure some things out. Thank you. So just a quick update, there are two more batches. Following the two batches, we have an art burst and then a logistical presentation. So just so you know where we are. Next, E.G. Bailey, Miranda Wright, Heidi Howard, Siobhan Collins, Eric Bass, Karen Griggs and John Herbert. He's not an A-Bear, he's Herbert. Evan Spiegelman, Malik Robinson, and Richard Marriott and Jess Drake. Hi, I'm Miranda Wright. I run Los Angeles Performance Practice. There's a lot of exciting stuff going on in LA right now. So I just wanted to share a couple of quick projects that are in development, looking for development residency support as well as commissioning partners. The first is House Music by Jenny Lu. It's choreography, meets installation. House Music invites small groups of guests between eight and 12 people into a stark mobile 10 by 10 unit where audience members can witness a commitment ceremony to creative process. The performance starts from socially binding properties of early house music and traditional Japanese tea ceremony. I have some video on my website at LosAngelsPerformancePractice.org if you wanted to see some work in progress. And then two projects that are very early on in development, Janie Geiser's new piece Here, There. Janie's an exemplary experimental puppet and video artist. Here, There is a visual performance collage that explores the liminal space between here and there, home and combat, soldier and family, status and action, life and death. Her work, if you haven't seen it, is visceral and moving and very powerful. And the third is Timor and the Dime Museum are creating a new work. If you don't know Timor, he's like a wonderfully androgynous punk opera singer from Kazakhstan, not to be missed. And his new work is a theatrical show drawing formally from songs and stages of the 1950s TV specials, Elvis Presley, exploring sexuality, gender identity and our evolving or not relationship to those issues. So let me know if you're interested in learning more. Chet Chet, how you doing? I'm so excited. Anything really you've been chosen? Okay, quick. A9 women, I should have not a woman, but that's the title of a three-part series exploring beauty image identity through pop culture lens as well as interviews and personal narratives using digital media, clown movement, monologue. The work is provocative, emotional, hilarious, relatable to a large cross section of women and girls and is performed by Lady Shay, Shay Cage and a violinist. And so I'm Shay Cage and this is my chief collaborator, E.G. Bailey, director and filmmaker and so we blend theater, performance and music to really reach communities that are traditionally not reached and marginalized. This three-part series, part two, is just recently part of the Creation Fund and partners such as Intermedia, the Guthrie York University in England presented it. We are looking for partners for the third part, which is A to I a Woman. We just received the NEA grant to work on the development of the project and Niyoka Workman from New York. These include eating disorders, birth and ritual and healing. It's a very powerful piece and we would love to partner with you. So we're looking for partners, commissioners and also venues to present the work. The first part of the trilogy was called NIGG, looking at the N-word. My other hardware, Intermedia Arts, we're looking for partners with artists that are interested in using space inside and outside of the building. Thank you. Good morning, everyone. I'm Heidi Howard, the artistic director at Seven Stages Theater and I wanna talk to you about a few projects we are in development for. The first one is called White Women in Progress and I am working with a local actor in Atlanta who played the role of Viola, who was the white woman gunned down by four clansmen at the summer march. And so we are looking at what our role is as artists, as white women, Americans and activists and how we can non-violently protest systemic racism. The other piece that I'm doing is an artistic response to Ray Bradbury's Fahrenheit 451. And so this is a call out to anyone who has read that book and wants to artistically respond. We're curating a homebrew presentation in May that will be a larger presentation in about two years. The other one is my co-artistic director, Michael Havarty, who is a puppeteer, has been working on a new piece called Inside Eye. This is looking at a boy's life, essentially who lives in the artistic spectrum world. We are using media by taking video and putting it into a puppet's head and speeding up and slowing down and using video technology to look at what it feels like to live in the world on the artistic spectrum. And alongside that, I am working with a young man who is telling his story. And so all of those, we are looking for presenters, I'm looking for conversation, I'm looking for education, and co-commissioners. Thank you. Hello and good morning. My name is Evan Smeagolman. I am one of five artistic directors of Schemes Theater, which is part of NPN's local network in New Orleans. We're our star material today. There's programs and independent artists. With an idea that came to me in a collaborator, Dylan Hunters, we were sort of lightly deoxidizing our brains with various medical and necessary psychoactives. And we, there was a moment a couple of years ago where we felt like surrealism was having this, surrealism, dataism, and cartoon logic were having this real cultural moment. But we were realizing that just because we abandoned from a lunge, it doesn't really keep through politics. And as we did our research into that format, so many of the early surrealists and dataists were horrible misogynists and racists.  So we have our complicated feelings about that on the one hand, and on the other hand, a growing love of cabaret singing and lounge singing and artists from Ethel Eckenberger to Justin Vivien Bond, who just lit a fire. So we wanted to see what would happen if we could burn these formats and actually made a party that we wanted to see. Excuse me, what would happen if we took those out of a little sous-saint of Cribbe culture, drag culture, and put it together all on a cabaret show. We are looking for residency opportunities, but we're also looking for rehearsal techniques from this brain trust because we are taking a kitchen sink approach at the very beginning of this rehearsal process. And I would love to know how you make work. Good morning, it's still morning, yes. Eric Pass, Sandglass Theater, Putney, Vermont. We are both a company that creates work and presents work. We are collaborating with our neighbor right inside our village, next stage arts of Putney, Vermont, to create a new way of presenting for us. Since 2005, we've had a series called Voices of Community Theater about issues of race, gender, disability and other things that affect our community. We're changing the form instead of presenting this as a series throughout the year. We're turning it into a conference and mini festival for next November. There'll be at least two companies performing on consecutive weekends and in the week in between workshops and other activities that involve the community. We're looking for ideas, proposals, words of caution. Possibly we're looking to hire a coordinator. We're looking for language and we're looking for programming and engagement strategies. Two of the goals of this conference festival will be for us to let the artistic process and practice be a model for positive social change and an aid to envisioning a model society. And to see experience last beyond this event to go beyond memories and archived medias. Michael Woods, Sojourn's company will be there. And so you call returners the keynote speaker. Thank you. Hi, Legion Arts has been fans of dancers Christiane and Taryn Griggs for many years when they were based in New York then when they were based in Minneapolis. And we've been deepening that relationship since they moved to Iowa last year. Taryn Griggs is gonna tell you about their new project. Hi, the working title for this project is called I Hate It Here. Chris and I make dances. It's a family band of sorts. The dance we're making now is a time capsule for our daughter Beatrix. We are collaborating on this with our friends who we consider family, Karen Keithley-Sires and Nikki Parizzo. Our work sometimes starts or ends on screen or on paper, collected or created in the form of diagrams, schematics, games and exercises. Dancing memories and dreams. Dancing proposals for imagined futures. In this dance, we are attempting to create the place we want to be. Time traveling to recreate beginnings, revisit favorite moments and invent endings to reflect on our complicated present. It is about how we are performing our lives, playing our roles in this time. It is every waking moment. It's about being parents. It's about being partners. It's about being dancers. It's about the people you choose to spend time with. Our work is a dialogue with mediators, movement generators, interpreters, motivators and the general public and this conversation is through movement. It is about what we can remember and what we can imagine and how those thoughts manifest as movement to create our current universe. We're looking for co-commissioners, presenters and residency opportunities for this project. Thank you. Good morning everyone. My name is Javon Collins. I am the performing arts program director at the King Arts Complex in Columbus, Ohio. So I'm a product of Columbus, Ohio. So I'd be remiss if I didn't take this time to honor one of our legends that we lost and her name is Amina Robinson. So please write that down because I'd like you all to go check out her artwork because it was with her artwork that has basically inspired me to want to be in the arts. So what we're gonna do is do an arts honors program in which we know a lot of our artists locally do not get a lot of recognition. So what we're gonna do at the King Arts Complex is start honor them. The first year honoring Amina Robinson in which February 18th would commemorate her 76th birthday but we just lost her in June. So we're gonna be honoring four emerging artists in fiber art, painting, mixed media and multimedia. We're gonna do a family day with events for our community exhibition to commemorate to really chronicle her career as well as an award show for the emerging artists. So we just wanna honor those artists in honor of Amina because you just never know what'll happen in life. So we wanna make sure we're honoring them as we are and to continue to have them live on and for me to tell you all you great people about Amina is a true honor for me. So thank you all so much. And also we'll be having the mid-year Midwest meeting in Columbus, Ohio. So if you wanna come hang out with me, let's come back June 13th and 14th, thank you. Hello everyone, my name's Jess Drake and I'm a company member and dramaturg with Hand and Mouth Theater, an ensemble based here in Portland, Oregon. You'll see a piece of our work pep talk today later at the showing, but we've just begun work on a new project titled Psychic Utopia that's following our interest in utopian community projects in alternative living, particularly in the Cascadian region. And so we've begun our research in actually the Oregon Outback Desert the Playa Residency Program in Summer Lake focused on the Rajneesh Purim commune that was in Eastern Oregon in the early 80s, which if you're from the region, you can bring it up with most anyone you meet in Portland and they'll probably have a strong opinion and an interesting conversation will follow. So we're doing in-depth research into this project as well as collaborating with playwright Andrea Stoleritz, Oregon Book Award winner, local playwright here, an ensemble of cast who will improvise text and materials. We're interested in this commune's meditation practices and group therapies and how that translates into performative material. We're also conducting interviews with anyone who has a personal story that connects them to this movement and so presenting partners, co-commissioners and anyone with a story about the Rajneesh Purim commune's welcome to get in touch. Thank you. My name is Richard Marriott. I'm a composer. My project is called Voyage. Voyage is about crossing borders. We're using an ensemble of Bionins and Western instruments. My co-composer is Madhi Subandhi. The performers include Pamela Zee and members of Gamelan Sekar Jaya and Club Fort Orchestra. And the dramaturg is Rachel Cooper. The structure of this is a Balinese ritual called the Cholanderang in which a participant is chosen and buried alive and then an hour later is dug up and experiences are rebirth. So in Voyage, we are milling this structure with the experiences of migrants and refugees who have to cross the border between cultures, between international borders, between the known and the unknown. And we're using their actual letters. We're using their interviews. So we're looking for co-commissioners. Thank you. What's happening everybody? I'm Malik Robinson, Executive Director of Cleopatra Robinson Dance. We are hosting the 28th Annual International Association of Blacks and Dance Conference January 20th through the 24th. It's going to feature 30 performing arts groups, at least 20 of them will be professional dance companies. We have the Ellie Cockens Opera House at the Denver Center for the Performing Arts. There's going to be, well one of the major aspects of this conference is education, so there are going to be a number of high school students that are also going to be performing. We have the Paramount Theater, but one of the innovations that we're bringing to the conference is kind of a result of the Misty Copeland Effect. We're going to have at least 16 of the top 25 ballet companies that are also going to be holding auditions. So there's going to be a number of things that are going to be happening there at the conference. And so I really wanted to extend an invitation to you all. We have some of the postcards that are outside, so you can go outside and pick them up there. All right, thank you. Okay, this is the last bunch. Laura Farr, Karen, okay, sorry, Amy Petrin, Steven Bader Ginsburg, Leilani Chan, Linda Austin, power, Brathwaite, John Rich, Maureen Fleming, Richard Newman, and Jan Bartoszik. Good morning, everybody. I have Laura Farr, Bates Dance Festival, two projects, both modest and fairly potent projects that I think are ideal for MP and touring platform. First, title is Tense Vagina, A Real Diagnosis. It's an evening-length one-woman show by dance and performance artist Sarah Julie, deals with motherhood and bladder control. It's a hilarious ride. It's a simple piece to produce. Very interesting, but modest and intriguing sets. And it will literally make you laugh so hard.  It's a terrific fit for NPN. And she's an artist who just moved to Portland from Brooklyn, so I have an artist I can promote on the NPN from my hometown. Second, Lyta Winfield. She was at the meeting last year. She's developing early stages of development of a new work called Imaginary. That's a project that works in dialogue with community to explore imagination, perception, and identity. It's being commissioned by the Flynn. I think she'd be interested in residency space and definitely tour dates. Sarah Julie's piece is gonna be at the American Dance Festival, and it dates this summer, but both projects are looking for more tour dates. Thank you. I'm Karen Anzolotegi. It translates to Karim Anzolotegi. I'm with Circuit Network. Hi, Elizabeth. I'm also doing an art post tomorrow at 10.20, so if you're planning to leave tonight, you can change your flight right now. Just kidding, okay. I propose to create and premiere a new solo theater piece entitled Loan Sharks, which will explore the complicated issue of student debt. When I went to college, back in the day, I acquired about $80,000 of private student loan debt, and I'm interested in examining the topic from the point of view that a debt is a systemic form of oppression that is capitalized. The loan travels around the world while we, the indebted ones, are stuck in one place. In the United States, the existing outstanding student loan debt currently tops $1.2 trillion. Because of this debt, more than 40 million Americans are not buying homes or cars, starting businesses or families, or otherwise contributing to rebuilding the economy. Some social scientists have suggested that public education should be free and pointed out that it would cost less to make public universities and community colleges tuition free than it does to finance the current debt finance system of higher education. Anyways, I guess that's 10 seconds, so just talk to me. I can tell you more about it. Right now, I'm working with an artist called Rafa, named Rafa Esparza, and we're using our loan statement, collection statements to create the set. And I want to talk about that. Call me, I'm here, thanks. Hi, I'm Steve Rader Ginsburg. I'm a new director of the Autorino Center for Arts and Humanities, University of St. Joseph of West Hartford, and I'm working to transform it from a presenting house to a place of community engagement, as well as a place for artist retreat and development. So some of the things that are in development coming up, Exit 12 is a contemporary dance company made up of military veterans, inspired by Romare Bearden's The Odyssey, and Gil Scott Herans, I'm now here, is a look at the Homer's, The Odyssey and the Return Home. And what really got me thinking about this was the anxiety of returning home to hundreds of suitors for your partner trying to get in your partner's pants and your partner doesn't even remember who you are at all. And I was like, well, that could relate to the anxiety of a lot of people. So if you were gone for a few years. The other thing is co-commissioning with a theater company that I founded in Hartford, Hartbyd Ensemble, working with a couple of lead artists myself and Robbie McCully. We're doing some geographic residencies around the country looking at the, to identify long-term cyclical patterns of behavioral language that drive conflict while implementing modes and activities of contemporary reconciliation after time of deep division within communities. The last thing is in January of 2017, launching from the Audorino Center for Arts and Cultures, the new play by Harbin Ensemble and Talvin Wilkes, called Jimmy and Lorraine, about James Baldwin and Lorraine Hansberry in the history of civil rights and their relationship. Thank you. Aloha, caca, yaca, mi gente. Good morning, my people. I am a Hawaii girl from Los Angeles for like 20 years in Los Angeles. And I'm so excited to announce that we just got any way of funding for a new project called Masters of the Current. And that means that myself and my partner over South Pang, who were both raised in Hawaii, get to go home for the first time in work. So, you know, I was kind of at ambient. All right, but if you want to be a part of that project, we're looking for commissioners. And we're working with the Micronesian community. The Micronesian community is the first, well, one of the first environmental refugees. The Micronesian Islands are being one of the first to be affected by global warming. Also, the US did nuclear testing in the Micronesian Islands and promised to provide healthcare for the Micronesians. And of course, they decided to stop providing healthcare. So, the Micronesians are flooding Hawaii and creating extreme ethnic tension in Kalihi Valley, which is where my husband over South Pang is from. So, we want to go back and offer our methodology. So, if you want to help commissioners, please talk to me. My name is Dalak Brathwaite. Besides the marathon that I ran for you last morning, I might be vaguely familiar from Dallas 2010 NPN, where I was a cast member in Where Becomes Flesh, marked by Muti Joseph's piece. I also toured the network, yes, thank you, through his piece, Scourge, around 2005. And now Mr. Joseph directs my first solo evening link play called Spirit Trials. Spirit Trials is where addiction, religion, and the law intersect in a government-sponsored court-ordered drug rehabilitation program. After being caught with four stems of mushrooms and anonymous narrator, embodies for the program's participants to understand his place in what seems to be a cultural rite of passage. The Weaves monologue, spoken word in live hip-hop music, which is adapted from the album that I release under the same name. It is supported by the Creation Fund and the Fourth Fund. Thank you, thank you. And toured with a small cast of four people. It premiered in San Francisco this year. It has since toured the Kennedy Center in D.C. and Malliards Cultural Center. We are looking for other community partners to help present it. From its inception, I've been developing this work with criminalized populations, incarcerated youth, formerly incarcerated youth, and we're looking for people who have strong ties with those communities. There's a full video available, and I have a one-sheet as well, and I'm performing in the art burst tomorrow. I'll add your board. Thank you. This makes things horrible, right? Is this the one that? I'm gonna go with this one. Try. I'm Amy Petron with Portland Ovations in Portland, Maine, and we are doing a new series in 1617 called Seeking Residence, and it's a series of interdisciplinary events that celebrate career expression rooted in and inspired by religious traditions and spiritual practices. One of the features I was going to be the Yuval Rana in San Bern, and their program Seeker of Truth. It features Ud, Harmonium, Woodwinds, Percussion, Gorgias Vocals, and Endovish named Aziz. His music is meditative and ecstatic, exhilarating yet hypnotic. He's an award-winning musician, composer, activist, and educator. He is performed at the Fez Festival, LA's World Music of Sacred, LA's Festival of Sacred Music, and Dalai Lama's Seat of Compassion Concert. It's a really great program for the NPN. It's scalable in terms of size and budget, number of ensemble members. He has a number of different programs that you can choose from that will resonate, particularly with your community and what you're trying to maybe seek in terms of connecting with religion, and he has a huge amount of residency activities. He's done work around music and its effects on the brains.  So he is West Coast based and available for doing. I'm gonna try this, Mike. Hi, I'm Linda Austin of Performance Works Northwest, Linda Austin Dance here in Portland. I'm one third of the way through a three-year project called Unmade. Unmade is a vehicle for the making, unmaking, transmitting, transforming of movement material, which includes, well, performance material, which includes movement text, vocals, objects, and also transformation somehow and unmaking of the self in different ways, including the authority of the choreographer in one of the parts, trying to become, you know, dismantle the self a little bit and also dealing a little bit with mortality and loss. So it's a three-year project with three stages. The first one happened already. It was a pass-along, really, where I made a solo and passed it to another person, and then it was hands-off, and they made their own version after seeing it twice, and they passed it on like the telephone game, and so along the way over the course of three months, six months, we watched how the solo transformed, and then next year, we're gathering all the performers to create a group score, and that will be premiering, well, then we'll, I, we'll transmit that to a large group of community participants, and then in the following year, we come back and make a small group version, and we're looking for commissioning and presenting support, and I have to pee. Hi, I'm Richard Newman, co-director of The Hinchillins in Detroit. Two things to talk to you about. One is our new piece, The Radicalization Process, which uses real and imagined histories of the American Left to research radicalism in contemporary America. It premieres this April, and we'd love for you to come see it. We'll be performing at Alverno Presents, Legion Arts in our space in Detroit throughout April, so find me if you're interested and maybe we can help get you there. Second is a project we're just starting work on called The Enemy of My Enemy, which is a series of performances created by The Hinchillins in collaboration with Chinese, Russian, and Iranian artists that test theater as a vehicle for grassroots international diplomacy. Each stage of the project, we'll ask a Chinese, Iranian, or Russian playwright who has never visited the United States to write about Americans. The Hinchillins will translate these pieces into our own physical and visual vocabulary while keeping the entirety of the written text intact. The first stage of this project is currently underway with my partner and Hinchillins co-director, Liza Vilby, currently in Chengdu, Sichuan, working with 83-year-old acclaimed Sichuan opera playwright, People's Liberation Army Veteran, and state propagandist, Xu Fen. Xu Fen will collaborate with us over the course of the next year, and ultimately the piece will be performed simultaneously in the United States and in Chengdu and with using live streaming and immersive film projections assigned by filmmaker Julia Yazbek. We're looking for co-commissioners and any kind of interest and support, so please talk to me about that. Thanks. Hi, I'm John Rich from the MCA. I wanted to just give you a little bit of background about Deatro Linea de Sombra, the project that we're commissioning for 2017 premiere. This is a company that was founded originally in Monterey, they're based in Mexico City, and they're really committed to what is popularly known as border plays, but in this case, the company actually trained in France with Grotowski in the poor theater example of stripped-down theater where the actors are not acting but actually action-presenting stories. It's a very exciting project. The collaborator, Jorge Berdín, also known as Glorophila, one of the co-founders of Nordic is gonna be in Chicago with us to devise the work with this company, which is a five-ensemble member company and independent Chicago artists. Chicago being the second largest population of Mexicans in the United States, has rich stories, but it's really about the universal conditions of what makes people have to move inside countries and internationally. Thank you. Good morning, everyone. I'm Jan Bartoszik, and I'm the founder and artistic director of Hedwig Dances. Hedwig Dances is a 30-year-old company based in Chicago. The name of my project is Tradewinds, and it's a dance that's about cyclical time as reflected in Northern and Southern cultures. We're looking for presenters for 2016, and it was originally created as a collaboration performance with Danza Bierte, a Havana-based dance company. So there were six dancers from Hedwig, six dancers from Hedwig, six dancers from Danza Bierte. It's about two companies, two cultures, two countries, Cuba, and the United States, with the underlying theme of longing, reconciliation, and where to for from here. My dreamy dream is to find presenter who will bring the two companies together again, especially in D.C., but anywhere in the U.S. Danza Bierte has a five-year visa and can travel to the United States. I'm also developing Tradewinds as a standalone work through the Creation Fund. Thank you, Lynx Hall, for being the lead commissioner, and we will be performing at Cocon St. Louis and at the University of Wisconsin, Madison with Kate Corbyn Dancers, and I invite you to come see it. We're looking for presenters and co-commissioners. Thank you very much. When you think about the celebrations and concerns of your community, your state, your nation, and your world, what question permeates your mind and your soul? For many of us, that is what's going on, and depending on the passion or intensity of that, the question might be, what in the hell is going on? Hello, my name is Vincent Edward Thomas. I'm the artistic director of What's Going On, the Marvin Gaye Project, with additional choreographers Ralph Glenmore and Sylvia Summa, and a cast of eight dancers plus myself. This project looks at life, love, and social justice through the musical lens of Marvin Gaye. There's a huge library of music recorded and written by Marvin Gaye. The project will feature your favorite classics and even lesser-known versions of music from this amazing singer-songwriter, songs like Mona Lisa and My Funny Valentine. Residency activities are available for your community and the opportunity for local and pre-professional and pre-professional dancers to perform in the final selection of the evening. The premiere is November 2016 at Dance Place in Washington, D.C. and touring begins in 2017. We're looking for presenters and co-commissioners. If you're interested, please see myself or Sarah Cramer from Dance Place. Thank you. At the rate, in the works, big round of applause. We are running a little bit behind, but don't go anywhere. A couple of logistics. Please sign up for dinarounds today. MK told me to mention that. And while I awkwardly strike this podium, please welcome Yolanda. Oh, I'm Yolanda, also known as John, and it's a real pleasure to be introducing the next art first by Phillip Elson, who is an ensemble member of the Seldoms, a dance company, a theater dance company based in Chicago. This piece was actually the impetus for creating it and the MCA commissioned it, was the congressional impasses. And by comparison, the extraordinary legislation to a number of bills passed by the LBJ administration. Carrie worked with the playwright, Stuart Flack, the amazing video visual artist, Bob Flack. I mean, Bob Faust, in order to create, devise this work with her sixth member ensemble. The piece that you're going to see is an excerpt that is strongly theatrical, and Phillip basically is speaking as the additional five member, five dancers are trying to impose on him the Johnson treatment, which you will now experience yourselves. Thanks a lot. And it has NDPs to port available. Despite my deep personal feeling about lifting up the Negro, there is nothing I can do here on the song. Entertain another idea. I can and should always free to think about what he wants. Can't force a man not to think. He can always conjure me alternatives. And as you so wisely pointed out, contract is just a piece of paper with writing on it. So I want you to go back to President Johnson and tell him that I'm going to ask my lawyers to entertain this very good suggestion in case he supports me. Seriously, I'm just changing it. Whether it might be possible to get more Negroes working in my store, maybe I should just tear up the whole damn thing.  Can't put price on justice in an era I see now. I have made a serious error in judgment about the importance of desegregation in America. Thank you, Mr. Nolan. Thank you for your patience. And allow me just to be serious, serious error that I've obviously made. So I want you to go back to President Johnson, tell him, tell him that I see his wisdom. I'll tear up this contract and I will do exactly as I say. Amis Seldom, Chicago, Illinois. That's a Creation Fund, Fourth Fund Project, commissioned by the MCA and others. While I awkwardly now set up some tech, please welcome to the stage Vallejo. If you didn't believe me yesterday, you were right. But after yesterday's shout out, I want to thank you all. There's $8,700 of donations, which is kind of pretty huge. But we need to realize that match of $15,000 from the Ki Hote Foundation now. So my job got twice as hard. So I'm not here to shake you down, I'm here to ask you to invest. Have you used that one as well? So I've got a raffle. We've never done a raffle before. And this is kind of crazy. Two holidays, not just one holiday. This is a place in upstate New York that, well, I own. And it's 17 acres with an amazing field, a forest, a beautiful river, a pond with canoes and rafts, Michelle Steinwald and someone else has stayed there. A two bedroom house that's 200 years old, it's beautiful. Tannis, are you gonna throw in a box of veggies? Hell yeah. Tannis is organic farm, some vegetables, you'll get a couple of bottles of wine, and it gets better. And pin will fly you there. Flights are included. Part two of your holiday. And they don't have to be taking next to each other, is Negro Treehouse Resort in Jamaica in the West Indies, three nights for two, stand-up paddleboard clinics, credits toward massages, airport transfers, breakfast, all of it included, and flights are also included. What, I hear you say? That's it in winter. You could hose down the pond, you could ice skate, wear about 30 minutes from an amazing skiing in Pennsylvania, cross-country trials, everything. So this is two holidays, not just one, a summer one, a winter one, or whatever you want one. All up, including the flights, it's worth about 3,500 bucks. So raffle tickets are outside at the desk, they're 10 bucks apiece, six for 50 bucks, in for 75 bucks, and 15 tickets for 100 bucks.  But by the end of tomorrow night, we're gonna have that $15,000 match, that is gonna be six residencies that wouldn't have otherwise happened. So that's huge. Jamaica, and upstate New York, all your flights, all your accommodation, I'll give you some of the wine, we'll get local cheeses, we'll take care of you. Buy the raffle tickets. Thank you, Lulee Home. Okay, we're running a little bit behind, so get ye asses to the idea forums. Remember we have two hashtags, hashtag NPN Van, hashtag AMNOLA, and Mimi, do you have any logistics? I have a couple of logistics, tonight at seven o'clock are the dinarounds, there's still lots of room to sign up for them. Did you already mention that, Will? Anyway, I'm mentioning it again. I'd like once I finish to clear out of here, because there is an idea forum coming in called, I'll show you mine. You might want to stay for that. Also, we have the second live on stage tonight from three to five, and tonight is the rambunch party, and that's at what time is the clock, and how much is it? Yeah.