RED EYE THEATER, Minneapolis, Minnesota, as fiscal sponsor for HIJACK, Minneapolis, Minnesota, received $10,780 to support the creation of new works. HIJACK is the choreographic collaboration of Kristin Van Loon and Arwen Wilder. Grant support will subsidize the creation of four new dances, two duets for Van Loon and Wilder, a trio set on the performance collaborative Mad King Thomas and a second trio with Van Loon, Wilder and Scott Heron. HIJACK represents the confluence and clash of two independent compositional/kinesthetic impulses. It chooses specific inspirations and then investigates those sources, drawing compositional tactics from other genres and grappling with aesthetic, social and political issues.
Writer and teacher DIANE GLANCY will spend 12 days in Hierapolis in Western Turkey and Caesarea on the Mediterranean, the places that constitute the setting for her novel in progress, The Parting. She writes from the land, traveling to the places the characters live to hear their voices in her imagination. She will find the ruins of old Caesarea and continue to Hierapolis, following the movements of her characters. Glancys novel is based, in part, on a minister (Philip) and his four daughters, taken from Acts 21:9.
HARLEM STAGE, New York City, received $20,000 in support of emerging artists' commissions in the Fund for New Work. In 2005, Aaron Davis Hall celebrated its 25th anniversary as Harlem's principal center for the performing arts, responsible for the management and programming of a three-theater complex. In 2006, it renamed itself Harlem Stage/Aaron Davis Hall, Inc., and finished the restoration of the historic West 135th Street Gatehouse, a 19th Century landmark that is now a 199-seat performance hall. Through the Fund for New Work, Harlem Stage provides direct support to emerging artists, including commissions, subsidized rehearsal space, and workshop presentations. Artists are given long and short-term residencies that include support services and space. Jerome support is directed to the Fund's work with emerging artists exploring new directions.
Jerome Foundation Directors made a grant of $10,800 to YOUNG JEAN LEES THEATER COMPANY, Brooklyn, New York, in support of the creation, development and production of a new experimental work based on Shakespeares King Lear. This work was commissioned by Soho Rep, New York City, and will be written and directed by Young Jean Lee. The work will be an angry love song to fathers, forefathers and patriarchsa thorny and complicated exploration of the ways in which they exert control and influence, and the weird and unexpected ways in which women respond to them. Lees work is geared toward unsettling complacency, both in herself and in her audiences, because she believes that contradiction and uncertainty bring people closer to the truth than pat ideologies.
JONATHAN HAMILTON, Visual Arts Program Director, Interact Center for the Visual and Performing Arts, will spend six weeks in central Scotland expanding his knowledge of programs that serve artists with disabilities. Hamilton will observe model programs and create collaborative partnerships with several well-established arts organizations in Glasgow. He shares a personal and professional dedication with the organizations he will visit, all of which focus on creative strengths rather than disabilities. He will research programs at Project Ability, Trongate Studios, and ArtLink Central.
A grant of $7,000 was authorized for IN THE HEART OF THE BEAST PUPPET & MASK THEATRE, Minneapolis, Minnesota, in support of the development and production of a new work written by emerging playwright Andrew Kimm and based on a short story by Gabriel Garcia Mrquez. In The Heart of the Beast performs professional puppet and mask theater for the entertainment and enrichment of audiences of all ages and cultures, creating a sense of community among performers and audiences, and building a vital and healthy culture through art, festivity, work and play. A Very Old Man With Enormous Wings will be Kimms first full-length production as both writer and director. He intends to make careful use of puppets, masks, movement and sound to speak the need for personal and collective change, in the language of dreams.