* Assistant Professor in the Department of Theatre and Dance
University of Alabama at Tuscaloosa (Alabama)
(date posted: 10/13/2008)
http://chronicle.com/jobs/id.php?id=0000577985-01&pg=e
* Tenure-track Positions
California State University at San Bernardino (California)
(date posted: 10/13/2008)
http://chronicle.com/jobs/id.php?id=0000578021-01&pg=e
* Assistant/Associate Professor of Stage Management
University of Redlands (California)
(date posted: 10/13/2008)
http://chronicle.com/jobs/id.php?id=0000577748-01&pg=e
* Faculty Positions in the College of Visual and Performing Arts
University of South Florida (Florida)
(date posted: 10/7/2008)
http://chronicle.com/jobs/id.php?id=0000577892-01&pg=e
* Chair, Theater Department
Columbia College Chicago (Illinois)
(date posted: 10/13/2008)
http://chronicle.com/jobs/id.php?id=0000578206-01&pg=e
* Full-time, Tenure-track Faculty Member, Dance Department
Columbia College Chicago (Illinois)
(date posted: 10/13/2008)
http://chronicle.com/jobs/id.php?id=0000577834-01&pg=e
* Faculty position in Theatre Design/Technical Direction
Northwestern College (Iowa) (Iowa)
(date posted: 10/9/2008)
http://chronicle.com/jobs/id.php?id=0000574877-01&pg=e
* Multiple Faculty Positions in the College of Liberal Arts and Sciences
University of Iowa (Iowa)
(date posted: 10/13/2008)
http://chronicle.com/jobs/id.php?id=0000577286-01&pg=e
* Assistant Professor in Lighting Design
Michigan State University (Michigan)
(date posted: 10/13/2008)
http://chronicle.com/jobs/id.php?id=0000578669-01&pg=e
* Assistant Professor of Theatre Arts/Technical Director/Designer/Shop Supervisor
Wayne State College (Nebraska)
(date posted: 10/10/2008)
http://chronicle.com/jobs/id.php?id=0000578634-01&pg=e
* Multiple Faculty Positions
State University of New York College at Brockport (New York)
(date posted: 10/13/2008)
http://chronicle.com/jobs/id.php?id=0000577202-01&pg=e
* Multiple Positions
State University of New York College at New Paltz (New York)
(date posted: 10/10/2008)
http://chronicle.com/jobs/id.php?id=0000576727-01&pg=e
* Assistant Professor - Dance
Appalachian State University (North Carolina)
(date posted: 10/9/2008)
http://chronicle.com/jobs/id.php?id=0000578424-01&pg=e
* Assistant Professor of Voice and Speech
Wright State University (Ohio)
(date posted: 10/8/2008)
http://chronicle.com/jobs/id.php?id=0000578312-01&pg=e
* Option Coordinator of Dramatic Writing
Carnegie Mellon University (Pennsylvania)
(date posted: 10/13/2008)
http://chronicle.com/jobs/id.php?id=0000577967-01&pg=e
* Assistant Professor of Drama (Costume and Set Design)
Texas Woman's University (Texas)
(date posted: 10/9/2008)
http://chronicle.com/jobs/id.php?id=0000578482-01&pg=e
* Assistant/Associate Professors in the School of Agriculture; School of Business; School
of Engineering, Science and Technology; and the School of Liberal Arts and Education
Virginia State University (Virginia)
(date posted: 10/13/2008)
http://chronicle.com/jobs/id.php?id=0000578163-01&pg=e
October 13, 2008
October 08, 2008
gen art film festival call for submissions
Festival Deadlines Approaching
Imagine this.
You arrive at the theater to a packed house. The crowd is buzzing and the bulbs are flashing. This is your Premiere, and the spotlight will shine exclusively on your film for the entire night. Follow that up with the party of a lifetime at one of the hottest clubs in New York and you start to get an idea of what The Gen Art Film Festival is all about.
The only catch is that you have to submit your film in order to be considered for the festival. The next deadline is October 31st, so head over to our submission page and send us your film ASAP.
We are currently accepting both Shorts and Features. See you at the fest!
Imagine this.
You arrive at the theater to a packed house. The crowd is buzzing and the bulbs are flashing. This is your Premiere, and the spotlight will shine exclusively on your film for the entire night. Follow that up with the party of a lifetime at one of the hottest clubs in New York and you start to get an idea of what The Gen Art Film Festival is all about.
The only catch is that you have to submit your film in order to be considered for the festival. The next deadline is October 31st, so head over to our submission page and send us your film ASAP.
We are currently accepting both Shorts and Features. See you at the fest!
LEE/GENDARY TO PREMIERE AT HERE ARTS CENTER OCTOBER 2008
HERE Arts Center presents:
LEE/GENDARY
A multidisciplinary performance piece inspired by the life of Bruce Lee
Created and performed by Soomi Kim
Written by Derek Nguyen
Directed by Suzi Takhashi
Music composed by Jen Shyu
Lighting designed by Lucrecia Briceno
Additional sound and music recorded by Adam Rogers
Video by Chris McClain
Assistant directed by David Shane
Stage managed by Leta Tremblay
Costume assistance by Adam Corcoran
Actors/Martial Artists: Shing Ka, Walker Lewis, Constance Parng, Ariel Shepley, Pai Sen Wang
Tabla Player: Dibyarka Chatterjee
When Bruce Lee was born, his mother gave him a girl’s name to disguise him from evil spirits. When actor/performing artist Soomi Kim learned this surprising fact, she felt destined to create a theatre performance inhabiting the incomparable martial arts superstar. Set in the inner landscape of Bruce Lee’s mind the moment he died in 1973, Lee/gendary is a theatrical deconstruction of an icon; a spiritual and psychological examination of Lee’s life from birth to death. This unique gender-bending theatre performance fluidly integrates text, live original music, video and an explosive hybrid of martial arts and dance.
Tuesday-Thursdays, October 14-30
7:30 pm
$20
For tickets visit www.here.org or call 212-352-3101
HERE Arts Center
145 Sixth Avenue between Spring and Broome (entrance on Dominick)
New York, NY 10013-1548
http://www.leegendary.com
MEDIA CONTACT: Nancy Moon - 212-989-7530, nancy.moon@verizon.net
"Those who die but do not perish continue to live" --Chapter 33, Tao de Ch'ing
_________________________________________________________________________________________________________
LEE/GENDARY was first presented at HERE’s The American Living Room Festival 2006 as a work-in-progress, directed by David Perry with fight choreography by Rafael Kayanan (The Hunted and Confessions of a Dangerous Mind).
In December 2006, LEE/GENDARY was accepted as one of the few projects by an individual artist to represent NYC in The First National Asian American Theater Festival held in New York City which ran June 11 - 24, 2007. LEE/GENDARY enjoyed a successful run at The Samuel Becket theater on Theatre Row, June 19th-21st. The last show was sold out and received a rave review from nytheatre.com:
"Then, there is Kim, who is outstanding as Lee. Hers is a convincing performance of rigorous physicality and impressive commitment. She scores big points in the case for non-traditional gender casting by showing that the key to such successes lies in having the right attitude. Oh boy, does she have the attitude! As Lee himself says early in the play, "Champions are made from something inside them." Kim's performance proves that." - Michael Criscuolo, nytheatre.com
_________________________________________________________________________________________________________
ABOUT HERE
This production is being presented through HERE's Supported Artist Program, which provides artists with subsidized space and equipment, as well as technical and administrative support.
Since 1993, the OBIE-winning HERE Arts Center has been a premier arts organization in NYC and a leader in the field of new, hybrid performance work. Under the artistic leadership of Kristin Marting, HERE has served 11,000 emerging to mid-career artists developing work that does not fit a conventional programming agenda. The executive leadership of HERE is now shared with Producing Director Kim Whitener, who recently joined HERE after 12 years of working in the downtown theater producing scene. Work presented at HERE has garnered 10 OBIE awards, an OBIE grant for artistic achievement, three Drama Desk nominations, two Berrilla Kerr Awards, two NY Innovative Theatre Awards, an Edwin Booth Award and a Pulitzer Prize nomination. HERE was awarded a $500,000 federal grant by the Lower Manhattan Development Corporation, a $500,000 grant from the September 11th Fund, and a $600,000 capital grant from the City of New York. Co-Founder and Artistic Director Kristin Marting was honored with a 2005 BAX10 Award for Arts Managers. HERE is proud to support artists at all stages in their careers through full productions, artist residency programs, festivals and subsidized performance and rehearsal space. Work at HERE is curated based on the strength and uniqueness of the artist’s vision. In 2005, with the support of FJC, a foundation of donor advised funds, the Lower Manhattan Development Corporation and the City of New York, HERE purchased its long-time home as part of a five-year “Secure HERE’s Future” campaign.
durfee foundation grant
THE DURFEE FOUNDATION
ARC: ARTISTS' RESOURCE for COMPLETION Grant
Fourth Quarter Postmark Deadline is Tuesday, November 4th, 2008 (Election Day).
ARC grants provide rapid, short-term assistance of up to $3,500 to individual artists who live in Los Angeles County. Funds must be used to enhance work that is near completion and scheduled for presentation between December 16, 2008 and May 4, 2009.
Artists in any discipline may apply.Applicants must have a secure invitation from an established organization to present their work.
There are four grant cycles per year.For more information, application, or guidelines visithttp://www.durfee.org/programs/arc/index.html
ARC: ARTISTS' RESOURCE for COMPLETION Grant
Fourth Quarter Postmark Deadline is Tuesday, November 4th, 2008 (Election Day).
ARC grants provide rapid, short-term assistance of up to $3,500 to individual artists who live in Los Angeles County. Funds must be used to enhance work that is near completion and scheduled for presentation between December 16, 2008 and May 4, 2009.
Artists in any discipline may apply.Applicants must have a secure invitation from an established organization to present their work.
There are four grant cycles per year.For more information, application, or guidelines visithttp://www.durfee.org/programs/arc/index.html
October 06, 2008
National Playwrights Conference Submission Window to Close on October 17, 2008!
Click to view this in a browser http://hosted.verticalresponse.com/164246/6ee74c04cc/89001897/389c576315/
Submit Your Play Now!
October 6th, 2008
Dear Playwrights,
The 2009 National Playwrights Conference submission window is fast drawing to a close. With less than two weeks remaining before theOctober 17th, 2008 post-mark deadline, we encourage you to beginassembling your submission! With fewer summer developmentopportunities occurring around the country this year, it's doublyimportant that you don't miss your chance to be considered for aresidency, rehearsal period, and public readings at The O'Neill. Over the tenure of Artistic Director Wendy C. Goldberg, the O'Neil'sNational Playwrights Conference has reclaimed its rightful place asthe nations leading incubator for new drama. We are able to help new voices of drama enter the world because of our dedication to an open submission process. Anyone is welcome to apply and all works will be carefully read and considered anonymously by our team of theater professionals from around the country.Time is running short and no late applications will be accepted, so act now!
Get an application athttp://cts.vresp.com/c/?EugeneONeillTheaterC/6ee74c04cc/389c576315/027e8e5efb.
There is a detailed process to follow, which includes submitting three copies of your script by post and a $35.00 submission fee to cover the cost of keeping the submission process open.If you have any questions, please contact the literary office at 860.443.5378 ext. 227, or email us at litoffice@theoneill.org.
Sincerely,
Martin Kettling
Literary Manager
Submit Your Play Now!
October 6th, 2008
Dear Playwrights,
The 2009 National Playwrights Conference submission window is fast drawing to a close. With less than two weeks remaining before theOctober 17th, 2008 post-mark deadline, we encourage you to beginassembling your submission! With fewer summer developmentopportunities occurring around the country this year, it's doublyimportant that you don't miss your chance to be considered for aresidency, rehearsal period, and public readings at The O'Neill. Over the tenure of Artistic Director Wendy C. Goldberg, the O'Neil'sNational Playwrights Conference has reclaimed its rightful place asthe nations leading incubator for new drama. We are able to help new voices of drama enter the world because of our dedication to an open submission process. Anyone is welcome to apply and all works will be carefully read and considered anonymously by our team of theater professionals from around the country.Time is running short and no late applications will be accepted, so act now!
Get an application athttp://cts.vresp.com/c/?EugeneONeillTheaterC/6ee74c04cc/389c576315/027e8e5efb.
There is a detailed process to follow, which includes submitting three copies of your script by post and a $35.00 submission fee to cover the cost of keeping the submission process open.If you have any questions, please contact the literary office at 860.443.5378 ext. 227, or email us at litoffice@theoneill.org.
Sincerely,
Martin Kettling
Literary Manager
women in film presents...
The Second Annual Focus on International Short Films:
A Night to Celebrate Indigenous Filmmakers of the Americas
When:
The Evening of Saturday, October 25th of 2008
6:00pm - 10:00pm
Where:
Barnsdall Gallery Theatre
4800 Hollywood Blvd.
Hollywood, CA 90027
Price: WIF Members $15.00/ Non-WIF members $20.00
To purchase tickets: Click Here
TICKETS ARE SELLING FAST! Buy yours today!Please bring your WIF membership card for verification and entry. For a complete list of films and to learn more about the event
go to: Women In Film Calendar
Come join us for the second annual event where this year we focus on short films by Indigenous American filmmakers. More than just a screening, you will experience Indigenous American culture with a reception, music, a fine art exhibit, and special appearances by Danza Azteca Cuauhtemoc, Vox Femina, Miss Blackfoot 2008 and Happy Frejo. Following the screening will be a Q & A with the filmmakers. This event brings together Indigenous artists from North Central and South American communities in Los Angeles, and is sure to draw a large and diverse crowd.
SELECTED FILMMAKERS:
Rojo Red
Director: Juan Manuel Betancourt
A young boy's fascination with his shoe string leads him to unravel the meaning of life.
Lagrimas Del Café
Director: Claudia Mercado
Meaning tears like coffee, that honors the director's ancestors, specifically her grandmother.
Conversion
Director: Nanobah Becker
In the early 1950's, Christian missionaries make a catastrophic visit to a family in the remote, Navajo desert, with unforeseen results.
Telephone Warriors: The Story of the Choctaw Code Talkers
Director: Valerie Redhorse
In 1918, not yet citizens of the U.S., Choctaw members of the U.S. American Expeditionary Forces were asked to use their native language as a powerful tool against the German Forces in World War I, setting a precedent for code talking as an effective military weapon and establishing them as America's original Code Talkers.
Xani Xepica
Director: Alejandro Diaz
What it takes to become a man. A young Indian boy tries to prove worthy of his bride.
For the Next Seven Generations
Director: Carol Hart
13 Indigenous women elders, shamans and medicine women from around the world, have united as one to share their sacred wisdom and practices. As they travel the globe together, they are shining a bright light on the path to a sustainable world for the next seven generations.
A Night to Celebrate Indigenous Filmmakers of the Americas
When:
The Evening of Saturday, October 25th of 2008
6:00pm - 10:00pm
Where:
Barnsdall Gallery Theatre
4800 Hollywood Blvd.
Hollywood, CA 90027
Price: WIF Members $15.00/ Non-WIF members $20.00
To purchase tickets: Click Here
TICKETS ARE SELLING FAST! Buy yours today!Please bring your WIF membership card for verification and entry. For a complete list of films and to learn more about the event
go to: Women In Film Calendar
Come join us for the second annual event where this year we focus on short films by Indigenous American filmmakers. More than just a screening, you will experience Indigenous American culture with a reception, music, a fine art exhibit, and special appearances by Danza Azteca Cuauhtemoc, Vox Femina, Miss Blackfoot 2008 and Happy Frejo. Following the screening will be a Q & A with the filmmakers. This event brings together Indigenous artists from North Central and South American communities in Los Angeles, and is sure to draw a large and diverse crowd.
SELECTED FILMMAKERS:
Rojo Red
Director: Juan Manuel Betancourt
A young boy's fascination with his shoe string leads him to unravel the meaning of life.
Lagrimas Del Café
Director: Claudia Mercado
Meaning tears like coffee, that honors the director's ancestors, specifically her grandmother.
Conversion
Director: Nanobah Becker
In the early 1950's, Christian missionaries make a catastrophic visit to a family in the remote, Navajo desert, with unforeseen results.
Telephone Warriors: The Story of the Choctaw Code Talkers
Director: Valerie Redhorse
In 1918, not yet citizens of the U.S., Choctaw members of the U.S. American Expeditionary Forces were asked to use their native language as a powerful tool against the German Forces in World War I, setting a precedent for code talking as an effective military weapon and establishing them as America's original Code Talkers.
Xani Xepica
Director: Alejandro Diaz
What it takes to become a man. A young Indian boy tries to prove worthy of his bride.
For the Next Seven Generations
Director: Carol Hart
13 Indigenous women elders, shamans and medicine women from around the world, have united as one to share their sacred wisdom and practices. As they travel the globe together, they are shining a bright light on the path to a sustainable world for the next seven generations.
short films needed for SATSANG
A note from producer Misi Lopez Lecube -
As most of you know I'm producing an ongoing new works performance series called SATSANG LOUNGE. We are moving into finalizing the line up for No. 2 -- which takes place on Oct 21 at 7:30. We had a great No. 1 and it's all very exciting stuff however, I'm coming up short on short film submissions.and I turn to you because either you may have a film (20 minutes or less) you'd like to show or know someone who has a short they may want to show at SATSANG.
SATSANG LOUNGE has landed at Theatre Theater in Los Angeles! No. 2 is taking place on OCTOBER 21. Friends and marvelous artists, join us! *Satsang Lounge is an on going new works
performance series where a diverse group of working Los Angeles artists are invited to exhibit,
explore and workshop new works in the company of other artists and an audience.
We had a our SATSANG LOUNGE No. 1 debut on September 23! The performances and film work were fantastic. It was a great success! Also, I have a new partner helping me make all this
happen and her name is Liz Kent! She’s great! We are putting the word out for No. 2 because we
still have a few spots open...
ATTENTION: actors, performers, musicians, filmmakers, dancers, writers -storytellers of all kinds- YOU - who’ve been developing new material and feel NOW is the time to try it out.
Here’s your opportunity! No age limit! Let’s go!
WHEN & WHERE: OCT 21, 7:30pm @ Theatre Theater (5041 Pico Blvd. off La Brea) is home to our SATSANG LOUNGE evenings- it’s a fantastic theater venue that owners Jeff Murray & Nicolette Chaffrey have recently renovated with new sound and lighting and AC! http://www.theatretheater.net/
Performance info: There are 7 to 8 ‘acts’ per Lounge. Each act will have 12 - 20 minutes depending on genre. *Each performer is required tobring at least 4 people to the show. As SATSANG LOUNGE is also an artists collective, performers are welcome to watch each other perform from the audience and are asked to stay for the entire show to enjoy and support and to participate in the group bow at the end. There will be one intermission. *We have an
amazing concessions situation catered by EVERYDAY FEAST so, libations and snacks are
available for purchase before, during and after the show. No need to grab dinner before hand!
Promotions & Business: We do our best to get listed in local publications and local web event
listings. There will also be a press release emailed three weeks in advance, Also, you will receive
postcards to hand out- with your names listed on them, and by all means we ask you to list us in your websites, blogs, etc.!!!
If you are interested in participating in Satsang Lounge LA- you may contact me via emailsatsanglounge@gmail.com
*Past performers and SATSANG LOUNGE Artists Collective Members-- please pass this performance opportunity on to those you know would appreciate! Please be our friend on myspace--- we're www.myspace.com/Satsanglounge.
About Satsang Lounge: The inspiration for Satsang Lounge came when I was looking for an open artist collective, where I couldworkshop new material I was developing for my solo show in NYC.
So, I found a theater and invited other writers, artists, actors, musicians, dancers, poets, painters, filmmakers, magicians, storytellers, DJ'S and who ever else could fit in the venue, to play, present, and explore their newest works in front of one another and an audience and from 1997-2002, I produced and hosted *Satsang Lounge in a community room at New York City's historic West Beth Theater.
*Satsang (Sanskrit sat = true, sanga = company): describes in Indian philosophy (1) the company of the "highest truth," and (2) company of persons who listen to, talk about, and assimilate the truth. This typically involves listening to or reading scriptures, reflecting on, discussing and assimilating their meaning, meditating on the source of these words, and bringing their meaning into one’s daily life.
~I have taken this term and extended it to a company of artistswhere discussing, sharing, witnessing, creating, and being in the company of other artists will inspire more creativity, feed our artistic spirits, and contribute to the realization of our life’s work.
With love. Misi Lopez Lecube
As most of you know I'm producing an ongoing new works performance series called SATSANG LOUNGE. We are moving into finalizing the line up for No. 2 -- which takes place on Oct 21 at 7:30. We had a great No. 1 and it's all very exciting stuff however, I'm coming up short on short film submissions.and I turn to you because either you may have a film (20 minutes or less) you'd like to show or know someone who has a short they may want to show at SATSANG.
SATSANG LOUNGE has landed at Theatre Theater in Los Angeles! No. 2 is taking place on OCTOBER 21. Friends and marvelous artists, join us! *Satsang Lounge is an on going new works
performance series where a diverse group of working Los Angeles artists are invited to exhibit,
explore and workshop new works in the company of other artists and an audience.
We had a our SATSANG LOUNGE No. 1 debut on September 23! The performances and film work were fantastic. It was a great success! Also, I have a new partner helping me make all this
happen and her name is Liz Kent! She’s great! We are putting the word out for No. 2 because we
still have a few spots open...
ATTENTION: actors, performers, musicians, filmmakers, dancers, writers -storytellers of all kinds- YOU - who’ve been developing new material and feel NOW is the time to try it out.
Here’s your opportunity! No age limit! Let’s go!
WHEN & WHERE: OCT 21, 7:30pm @ Theatre Theater (5041 Pico Blvd. off La Brea) is home to our SATSANG LOUNGE evenings- it’s a fantastic theater venue that owners Jeff Murray & Nicolette Chaffrey have recently renovated with new sound and lighting and AC! http://www.theatretheater.net/
Performance info: There are 7 to 8 ‘acts’ per Lounge. Each act will have 12 - 20 minutes depending on genre. *Each performer is required tobring at least 4 people to the show. As SATSANG LOUNGE is also an artists collective, performers are welcome to watch each other perform from the audience and are asked to stay for the entire show to enjoy and support and to participate in the group bow at the end. There will be one intermission. *We have an
amazing concessions situation catered by EVERYDAY FEAST so, libations and snacks are
available for purchase before, during and after the show. No need to grab dinner before hand!
Promotions & Business: We do our best to get listed in local publications and local web event
listings. There will also be a press release emailed three weeks in advance, Also, you will receive
postcards to hand out- with your names listed on them, and by all means we ask you to list us in your websites, blogs, etc.!!!
If you are interested in participating in Satsang Lounge LA- you may contact me via emailsatsanglounge@gmail.com
*Past performers and SATSANG LOUNGE Artists Collective Members-- please pass this performance opportunity on to those you know would appreciate! Please be our friend on myspace--- we're www.myspace.com/Satsanglounge.
About Satsang Lounge: The inspiration for Satsang Lounge came when I was looking for an open artist collective, where I couldworkshop new material I was developing for my solo show in NYC.
So, I found a theater and invited other writers, artists, actors, musicians, dancers, poets, painters, filmmakers, magicians, storytellers, DJ'S and who ever else could fit in the venue, to play, present, and explore their newest works in front of one another and an audience and from 1997-2002, I produced and hosted *Satsang Lounge in a community room at New York City's historic West Beth Theater.
*Satsang (Sanskrit sat = true, sanga = company): describes in Indian philosophy (1) the company of the "highest truth," and (2) company of persons who listen to, talk about, and assimilate the truth. This typically involves listening to or reading scriptures, reflecting on, discussing and assimilating their meaning, meditating on the source of these words, and bringing their meaning into one’s daily life.
~I have taken this term and extended it to a company of artistswhere discussing, sharing, witnessing, creating, and being in the company of other artists will inspire more creativity, feed our artistic spirits, and contribute to the realization of our life’s work.
With love. Misi Lopez Lecube
teaching the arts
* Open Rank
Stanford University (California)
(date posted: 9/30/2008)
http://chronicle.com/jobs/id.php?id=0000576756-01&pg=e
* Director, School of Music
University of Florida (Florida)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576609-01&pg=e
* Assistant Professor of Theatre
Valdosta State University (Georgia)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000575526-01&pg=e
* Music
Louisiana State University at Baton Rouge (Louisiana)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576993-01&pg=e
* Artist/Teacher - Opera Coach
Louisiana State University at Baton Rouge (Louisiana)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576987-01&pg=e
* Music
Louisiana State University at Baton Rouge (Louisiana)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576991-01&pg=e
* Multiple Positions: English, Communications, Theatre, Music, Biology, and Chemistry
Northern Michigan University (Michigan)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576498-01&pg=e
* Three positions in Music
University of Minnesota-Twin Cities (Minnesota)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576675-01&pg=e
* Clinical Assistant Professor in Dance Education
Rutgers University at New Brunswick (New Jersey)
(date posted: 10/1/2008)
http://chronicle.com/jobs/id.php?id=0000577010-01&pg=e
* Assistant Professor of Dance
State University of New York College at Brockport (New York)
(date posted: 9/30/2008)
http://chronicle.com/jobs/id.php?id=0000576641-01&pg=e
* Assistant Professor of Costume Technology
Elon University (North Carolina)
(date posted: 10/3/2008)
http://chronicle.com/jobs/id.php?id=0000577445-01&pg=e
* Faculty - multiple disciplines
University of North Dakota (North Dakota)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576285-01&pg=e
* Multiple Faculty Positions
Ashford University (Ohio)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576754-01&pg=e
* Theatre Assistant Professor
Miami University (Ohio) (Ohio)
(date posted: 9/30/2008)
http://chronicle.com/jobs/id.php?id=0000576612-01&pg=e
* Multiple Position Openings
College of Charleston (South Carolina)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576702-01&pg=e
Stanford University (California)
(date posted: 9/30/2008)
http://chronicle.com/jobs/id.php?id=0000576756-01&pg=e
* Director, School of Music
University of Florida (Florida)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576609-01&pg=e
* Assistant Professor of Theatre
Valdosta State University (Georgia)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000575526-01&pg=e
* Music
Louisiana State University at Baton Rouge (Louisiana)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576993-01&pg=e
* Artist/Teacher - Opera Coach
Louisiana State University at Baton Rouge (Louisiana)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576987-01&pg=e
* Music
Louisiana State University at Baton Rouge (Louisiana)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576991-01&pg=e
* Multiple Positions: English, Communications, Theatre, Music, Biology, and Chemistry
Northern Michigan University (Michigan)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576498-01&pg=e
* Three positions in Music
University of Minnesota-Twin Cities (Minnesota)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576675-01&pg=e
* Clinical Assistant Professor in Dance Education
Rutgers University at New Brunswick (New Jersey)
(date posted: 10/1/2008)
http://chronicle.com/jobs/id.php?id=0000577010-01&pg=e
* Assistant Professor of Dance
State University of New York College at Brockport (New York)
(date posted: 9/30/2008)
http://chronicle.com/jobs/id.php?id=0000576641-01&pg=e
* Assistant Professor of Costume Technology
Elon University (North Carolina)
(date posted: 10/3/2008)
http://chronicle.com/jobs/id.php?id=0000577445-01&pg=e
* Faculty - multiple disciplines
University of North Dakota (North Dakota)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576285-01&pg=e
* Multiple Faculty Positions
Ashford University (Ohio)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576754-01&pg=e
* Theatre Assistant Professor
Miami University (Ohio) (Ohio)
(date posted: 9/30/2008)
http://chronicle.com/jobs/id.php?id=0000576612-01&pg=e
* Multiple Position Openings
College of Charleston (South Carolina)
(date posted: 10/6/2008)
http://chronicle.com/jobs/id.php?id=0000576702-01&pg=e
September 29, 2008
teaching the arts
* Associate Professor/Professor of Art (Visual or Performing) and Head of School
University of Tasmania (Australia)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000575316-01&pg=e
* Assistant Professor in Acting and Directing
University of California at Santa Barbara (California)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000569044-01&pg=e
* Assistant Professor of Art Education/Assistant Professor of Dance
Kennesaw State University (Georgia)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000575349-01&pg=e
* Assistant Professor/Theatre Historian and Teacher
Ball State University (Indiana)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574268-01&pg=e
* Assistant Professor, Theater Department
Wabash College (Indiana)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574771-01&pg=e
* Assistant Professor of Directing, Dept of Theater and Dance
Amherst College (Massachusetts)
(date posted: 9/26/2008)
http://chronicle.com/jobs/id.php?id=0000576228-01&pg=e
* Theatre Arts - Director/Acting Instructor
Mount Holyoke College (Massachusetts)
(date posted: 9/23/2008)
http://chronicle.com/jobs/id.php?id=0000575444-01&pg=e
* Guest Artist in Costume Design
Mount Holyoke College (Massachusetts)
(date posted: 9/23/2008)
http://chronicle.com/jobs/id.php?id=0000575447-01&pg=e
* Chairperson/Faculty - Department of Theatre and Dance
Winona State University (Minnesota)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574199-01&pg=e
* Department Chair, Professor & Artistic Director
University of North Carolina at Wilmington (North Carolina)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574184-01&pg=e
* Scenic Designer - Theatre
North Dakota State University (North Dakota)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574344-01&pg=e
* Assistant/Associate Professor/ Theatre & Dance
Kent State University (Ohio)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000575343-01&pg=e
* Assistant Professor of Theatre
Reed College (Oregon)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574290-01&pg=e
* Assistant/Associate Professor of Acting and Directing, Department of Theatre Arts
Furman University (South Carolina)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000575792-01&pg=e
* Assistant Professor of Drama
University of Houston-Downtown (Texas)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000575208-01&pg=e
University of Tasmania (Australia)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000575316-01&pg=e
* Assistant Professor in Acting and Directing
University of California at Santa Barbara (California)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000569044-01&pg=e
* Assistant Professor of Art Education/Assistant Professor of Dance
Kennesaw State University (Georgia)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000575349-01&pg=e
* Assistant Professor/Theatre Historian and Teacher
Ball State University (Indiana)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574268-01&pg=e
* Assistant Professor, Theater Department
Wabash College (Indiana)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574771-01&pg=e
* Assistant Professor of Directing, Dept of Theater and Dance
Amherst College (Massachusetts)
(date posted: 9/26/2008)
http://chronicle.com/jobs/id.php?id=0000576228-01&pg=e
* Theatre Arts - Director/Acting Instructor
Mount Holyoke College (Massachusetts)
(date posted: 9/23/2008)
http://chronicle.com/jobs/id.php?id=0000575444-01&pg=e
* Guest Artist in Costume Design
Mount Holyoke College (Massachusetts)
(date posted: 9/23/2008)
http://chronicle.com/jobs/id.php?id=0000575447-01&pg=e
* Chairperson/Faculty - Department of Theatre and Dance
Winona State University (Minnesota)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574199-01&pg=e
* Department Chair, Professor & Artistic Director
University of North Carolina at Wilmington (North Carolina)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574184-01&pg=e
* Scenic Designer - Theatre
North Dakota State University (North Dakota)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574344-01&pg=e
* Assistant/Associate Professor/ Theatre & Dance
Kent State University (Ohio)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000575343-01&pg=e
* Assistant Professor of Theatre
Reed College (Oregon)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000574290-01&pg=e
* Assistant/Associate Professor of Acting and Directing, Department of Theatre Arts
Furman University (South Carolina)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000575792-01&pg=e
* Assistant Professor of Drama
University of Houston-Downtown (Texas)
(date posted: 9/29/2008)
http://chronicle.com/jobs/id.php?id=0000575208-01&pg=e
September 26, 2008
grants
1) National Endowment for the Arts Announces Guidelines for American Masterpieces: Dance
Deadline: October 24, 2008
American Masterpieces: Three Centuries of Artistic Genius (http://nea.gov/national/masterpieces/index.html) is a major initiative of the National Endowment for the Arts ( http://www.arts.gov) to acquaint Americans with the best of their cultural and artistic legacy.
Through the initiative, reconstructions and restagings of significant dance works of the highest quality will be experienced by Americans in communities across the nation. The endowment
plans to support a variety of projects that are artistically, historically, and culturally significant and that reflect the breadth of dance forms, styles, and techniques in America.
Grants will be awarded in two areas: 1) for the reconstruction or restaging of significant American dance works and their performance at home and on tour by dance companies, presenters, and festivals; and 2) to college and university dance programs for the restaging, performance, and documentation of significant dance choreography in order to provide dance students with access to the legacy of American dance history.
All projects must be accompanied by related educational, interpretive, or contextual components. Substantial efforts should be made to engage and expand dance audiences by reaching underserved communities.
For dance companies, presenters, and festivals, grants will range from $15,000 to $150,000 each. For college and university dance programs, all grants will be for $15,000 each. All grants require a nonfederal match of at least 1 to 1. A grant period of up to two years is allowed.
Eligible applicants include nonprofit, tax-exempt 501(c)(3), U.S. organizations; units of state or local government; or federally recognized tribal communities or tribes.
Program guidelines are available at the NEA Web site.
RFP Link:
http://fconline.foundationcenter.org/pnd/15015176/artsemdow
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
---------------------------<<>>----------------------------
2) Mid Atlantic Arts Foundation Releases Guidelines for Artists & Communities Program
Deadline: December 1, 2008
The Mid Atlantic Arts Foundation ( http://midatlanticarts.org) has announced program guidelines for the 2009-10 cycle of its Artists & Communities program. This year, artists from any of the foundation's nine partner states are eligible to participate.
Artists & Communities supports artist residencies designed collaboratively by visiting artists and host nonprofit organizations that engage the public in the creative process. Artists and non-
profit organizations from Delaware, the District of Columbia, Maryland, New Jersey, New York, Pennsylvania, the U.S. Virgin Islands, Virginia, and West Virginia are eligible to participate
in the program.
Artists & Communities supports professional creative artists (choreographers, composers, poets, writers, filmmakers, media, and visual artists of all kinds) who partner with nonprofit
organizations on projects that result in the creation of new work. The program is specifically designed to support artists whose work is informed by or developed in conjunction with
community participation. Nonprofit organizations apply in partnership with the artist(s)
they wish to host. The project must be designed collaboratively by the artist and the host organization. The host organization must be a tax-exempt nonprofit corporation or a unit of government.
Artists & Communities grants usually range from $5,000 to $20,000 each and must be matched on a 1:1 basis. Grants funds may only be used toward the artist's stipend, long-distance travel and accommodations, supplies and materials used in the project, and documentation.
Visit the MAAF Web site for complete program information.
RFP Link:
http://fconline.foundationcenter.org/pnd/15015177/midatlanticarts
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
---------------------------<<>>----------------------------
3) New York City African-American and Latino Composers Invited to Apply for Van Lier Fellowships
Deadline: December 8, 2008
The Edward and Sally Van Lier Fund of the New York Community Trust provides support for talented, culturally diverse young people who are seriously dedicated to a career in the arts. Meet The Composer administers the Van Lier Fellowship on behalf of the Van Lier Fund of the New York Community Trust.
The purpose of the fellowship is to provide financial and career support for New York City's African-American and Latino composers still in the early stages of their careers. Composers, improvisers, singer/songwriters and sound artists working in any style or genre of music and sound will be considered. Funds can be used for any purpose, including the creation of new work, the purchasing of music/tech equipment, travel, or research and development.
The fellowship is open to African-American and Latino composers thirty-two years of age or younger. Applicants must be a fulltime resident of New York City (any borough), show financial need, and not be enrolled in a degree-granting program at the time of application (i.e., no students).
The one-year fellowship award is $8,500. Additional monetary support will be provided if the composer develops and participates in an educational outreach program with students and/or youth groups. The educational component is optional. Two fellowships are awarded each year.
Guidelines and application forms are available at the Meet the Composer Web site.
RFP Link:
http://fconline.foundationcenter.org/pnd/15015178/meetthecomposer
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
---------------------------<<>>----------------------------
4) USArtists International Announces Global Expansion
Deadline: January 9, 2009; and May 4, 2009
With support from the National Endowment for the Arts ( http://www.arts.gov), the Andrew W. Mellon Foundation ( http://www.mellon.org), and the Trust for Mutual Understanding ( http://www.tmuny.org/index.html), the Mid Atlantic Arts Foundation ( http://www.midatlanticarts.org) has announced a major expansion of USArtists International, a national initiative solely dedicated to promoting the work of American performing
artists abroad.
Formerly limited to supporting dance and music ensembles invited to perform at international festivals in Europe, USAI will now encompass festivals anywhere in the world outside the United States. The program also will be open to support American theater companies and solo performances in all performing arts disciplines.
Grants are available to American dance, music, and theater ensembles and solo artists that have been invited to participate in international festivals outside the United States.
Eligible applicants must be dance, music, or theater ensembles, including practitioners of folk and traditional forms, that work at a professional level; consist of a majority of members who
are citizens or permanent residents of the U.S.; and have 501(c)(3) nonprofit organization status or a fiscal sponsor with such status.
Eligible festivals must be sponsored or organized primarily by a non-U.S. based organization; be international in scope with representation from at least two countries outside the host country,
or have a U.S. theme with representation from at least three U.S. performing groups; reach a wide audience and be open and marketed to the general public; provide the applicant with a signed letter of invitation or signed contract to perform at the festival; and provide some support to the invited ensembles in the form of cash remuneration, paid travel-related expenses, or in-kind contributions.
Upcoming deadlines for the program are January 9, 2009, for projects taking place between March 1, 2009, and February 28, 2010; and May 4, 2009, for projects taking place between July 1, 2009, and June 30, 2010.
The USAI guidelines are available at the Mid Atlantic Arts Foundation Web site.
RFP Link:
http://fconline.foundationcenter.org/pnd/15015179/usartists
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
Deadline: October 24, 2008
American Masterpieces: Three Centuries of Artistic Genius (http://nea.gov/national/masterpieces/index.html) is a major initiative of the National Endowment for the Arts ( http://www.arts.gov) to acquaint Americans with the best of their cultural and artistic legacy.
Through the initiative, reconstructions and restagings of significant dance works of the highest quality will be experienced by Americans in communities across the nation. The endowment
plans to support a variety of projects that are artistically, historically, and culturally significant and that reflect the breadth of dance forms, styles, and techniques in America.
Grants will be awarded in two areas: 1) for the reconstruction or restaging of significant American dance works and their performance at home and on tour by dance companies, presenters, and festivals; and 2) to college and university dance programs for the restaging, performance, and documentation of significant dance choreography in order to provide dance students with access to the legacy of American dance history.
All projects must be accompanied by related educational, interpretive, or contextual components. Substantial efforts should be made to engage and expand dance audiences by reaching underserved communities.
For dance companies, presenters, and festivals, grants will range from $15,000 to $150,000 each. For college and university dance programs, all grants will be for $15,000 each. All grants require a nonfederal match of at least 1 to 1. A grant period of up to two years is allowed.
Eligible applicants include nonprofit, tax-exempt 501(c)(3), U.S. organizations; units of state or local government; or federally recognized tribal communities or tribes.
Program guidelines are available at the NEA Web site.
RFP Link:
http://fconline.foundationcenter.org/pnd/15015176/artsemdow
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
---------------------------<<>>----------------------------
2) Mid Atlantic Arts Foundation Releases Guidelines for Artists & Communities Program
Deadline: December 1, 2008
The Mid Atlantic Arts Foundation ( http://midatlanticarts.org) has announced program guidelines for the 2009-10 cycle of its Artists & Communities program. This year, artists from any of the foundation's nine partner states are eligible to participate.
Artists & Communities supports artist residencies designed collaboratively by visiting artists and host nonprofit organizations that engage the public in the creative process. Artists and non-
profit organizations from Delaware, the District of Columbia, Maryland, New Jersey, New York, Pennsylvania, the U.S. Virgin Islands, Virginia, and West Virginia are eligible to participate
in the program.
Artists & Communities supports professional creative artists (choreographers, composers, poets, writers, filmmakers, media, and visual artists of all kinds) who partner with nonprofit
organizations on projects that result in the creation of new work. The program is specifically designed to support artists whose work is informed by or developed in conjunction with
community participation. Nonprofit organizations apply in partnership with the artist(s)
they wish to host. The project must be designed collaboratively by the artist and the host organization. The host organization must be a tax-exempt nonprofit corporation or a unit of government.
Artists & Communities grants usually range from $5,000 to $20,000 each and must be matched on a 1:1 basis. Grants funds may only be used toward the artist's stipend, long-distance travel and accommodations, supplies and materials used in the project, and documentation.
Visit the MAAF Web site for complete program information.
RFP Link:
http://fconline.foundationcenter.org/pnd/15015177/midatlanticarts
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
---------------------------<<>>----------------------------
3) New York City African-American and Latino Composers Invited to Apply for Van Lier Fellowships
Deadline: December 8, 2008
The Edward and Sally Van Lier Fund of the New York Community Trust provides support for talented, culturally diverse young people who are seriously dedicated to a career in the arts. Meet The Composer administers the Van Lier Fellowship on behalf of the Van Lier Fund of the New York Community Trust.
The purpose of the fellowship is to provide financial and career support for New York City's African-American and Latino composers still in the early stages of their careers. Composers, improvisers, singer/songwriters and sound artists working in any style or genre of music and sound will be considered. Funds can be used for any purpose, including the creation of new work, the purchasing of music/tech equipment, travel, or research and development.
The fellowship is open to African-American and Latino composers thirty-two years of age or younger. Applicants must be a fulltime resident of New York City (any borough), show financial need, and not be enrolled in a degree-granting program at the time of application (i.e., no students).
The one-year fellowship award is $8,500. Additional monetary support will be provided if the composer develops and participates in an educational outreach program with students and/or youth groups. The educational component is optional. Two fellowships are awarded each year.
Guidelines and application forms are available at the Meet the Composer Web site.
RFP Link:
http://fconline.foundationcenter.org/pnd/15015178/meetthecomposer
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
---------------------------<<>>----------------------------
4) USArtists International Announces Global Expansion
Deadline: January 9, 2009; and May 4, 2009
With support from the National Endowment for the Arts ( http://www.arts.gov), the Andrew W. Mellon Foundation ( http://www.mellon.org), and the Trust for Mutual Understanding ( http://www.tmuny.org/index.html), the Mid Atlantic Arts Foundation ( http://www.midatlanticarts.org) has announced a major expansion of USArtists International, a national initiative solely dedicated to promoting the work of American performing
artists abroad.
Formerly limited to supporting dance and music ensembles invited to perform at international festivals in Europe, USAI will now encompass festivals anywhere in the world outside the United States. The program also will be open to support American theater companies and solo performances in all performing arts disciplines.
Grants are available to American dance, music, and theater ensembles and solo artists that have been invited to participate in international festivals outside the United States.
Eligible applicants must be dance, music, or theater ensembles, including practitioners of folk and traditional forms, that work at a professional level; consist of a majority of members who
are citizens or permanent residents of the U.S.; and have 501(c)(3) nonprofit organization status or a fiscal sponsor with such status.
Eligible festivals must be sponsored or organized primarily by a non-U.S. based organization; be international in scope with representation from at least two countries outside the host country,
or have a U.S. theme with representation from at least three U.S. performing groups; reach a wide audience and be open and marketed to the general public; provide the applicant with a signed letter of invitation or signed contract to perform at the festival; and provide some support to the invited ensembles in the form of cash remuneration, paid travel-related expenses, or in-kind contributions.
Upcoming deadlines for the program are January 9, 2009, for projects taking place between March 1, 2009, and February 28, 2010; and May 4, 2009, for projects taking place between July 1, 2009, and June 30, 2010.
The USAI guidelines are available at the Mid Atlantic Arts Foundation Web site.
RFP Link:
http://fconline.foundationcenter.org/pnd/15015179/usartists
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
September 25, 2008
September 24, 2008
catching up with spearhead
Big shout out of Love to Franti and the Spearhead boys as they head off into the world to spread the message. We loved having you here in LA!!!! And congrats on breaking into the Top 40!!!!
Raleigh Ral - so proud of you!!!
Raleigh Ral - so proud of you!!!
September 19, 2008
September 16, 2008
SPF 2009 Submissions Open
Submissions are now being accepted by The Living Room for Artists for the sixth annual Summer Play Festival (SPF), which will be presented at The Public Theater in New York City from July 7 through August 2, 2009.
Submissions are open to all emerging writers of plays and musicals, with or without representation. There is no fee to submit.
For application and submission guidelines, visit spfnyc.com.
Since its inception in 2004, SPF has produced over 70 original works, and has provided an opportunity for writers to present their material and craft in a protected environment, guided by established professionals, with full financial support. SPF has had tremendous success in helping to identify talented, emerging artists, and many of our writers have enjoyed Broadway, off-Broadway, international and regional productions. Others are now developing projects with film and television companies.
In the coming year SPF alumni will continue to be seen across the US and the world, including Noah Haidle, SPF 2004 (Saturn Returns, Lincoln Center), Beau Willimon, SPF 2007 (Farragut North, Atlantic Theater Company), Jacquelyn Honess-Martin, SPF 2008 (Smith, The British Museum in London, England), and Jamie Pachino, SPF 2006 (Splitting Infinity, San Jose Rep).
In the past year alone, several SPF alumni have had their work produced around the world, including Quiara Hudes, SPF 2005 (In The Heights, Broadway), John Bucchino, SPF 2004 (A Catered Affair, Broadway), Brooke Berman, SPF 2004 (Hunting & Gathering, Primary Stages), Jim Knable, SPF 2006 (Spain, MCC), Anton Dudly, SPF 2004 (Substitution, SOHO Playhouse), Catherine Trieshman, SPF 2005 (Crooked, Julia Miles Theater), and J.T. Rogers, SPF 2005 (The Overwhelming, Roundabout Theatre Company).
Visit spfnyc.com for more information.
Submissions are open to all emerging writers of plays and musicals, with or without representation. There is no fee to submit.
For application and submission guidelines, visit spfnyc.com.
Since its inception in 2004, SPF has produced over 70 original works, and has provided an opportunity for writers to present their material and craft in a protected environment, guided by established professionals, with full financial support. SPF has had tremendous success in helping to identify talented, emerging artists, and many of our writers have enjoyed Broadway, off-Broadway, international and regional productions. Others are now developing projects with film and television companies.
In the coming year SPF alumni will continue to be seen across the US and the world, including Noah Haidle, SPF 2004 (Saturn Returns, Lincoln Center), Beau Willimon, SPF 2007 (Farragut North, Atlantic Theater Company), Jacquelyn Honess-Martin, SPF 2008 (Smith, The British Museum in London, England), and Jamie Pachino, SPF 2006 (Splitting Infinity, San Jose Rep).
In the past year alone, several SPF alumni have had their work produced around the world, including Quiara Hudes, SPF 2005 (In The Heights, Broadway), John Bucchino, SPF 2004 (A Catered Affair, Broadway), Brooke Berman, SPF 2004 (Hunting & Gathering, Primary Stages), Jim Knable, SPF 2006 (Spain, MCC), Anton Dudly, SPF 2004 (Substitution, SOHO Playhouse), Catherine Trieshman, SPF 2005 (Crooked, Julia Miles Theater), and J.T. Rogers, SPF 2005 (The Overwhelming, Roundabout Theatre Company).
Visit spfnyc.com for more information.
September 15, 2008
teaching the arts
* Open Positions at West Alabama University
University of West Alabama (Alabama)
(date posted: 9/15/2008)
http://chronicle.com/jobs/id.php?id=0000573115-01&pg=e
* Assistant Professor of Violin
Biola University (California)
(date posted: 9/12/2008)
http://chronicle.com/jobs/id.php?id=0000573597-01&pg=e
* Assistant Professor in Performance and Voice
Florida State University (Florida)
(date posted: 9/11/2008)
http://chronicle.com/jobs/id.php?id=0000573112-01&pg=e
* Advanced Assistant/Associate Professor of Film/Video Production
University of Iowa (Iowa)
(date posted: 9/10/2008)
http://chronicle.com/jobs/id.php?id=0000573283-01&pg=e
* Assistant/Associate Professor of Drama
Transylvania University (Kentucky)
(date posted: 9/11/2008)
http://chronicle.com/jobs/id.php?id=0000573383-01&pg=e
* Associate Professor of Theater Studies
Duke University (North Carolina)
(date posted: 9/15/2008)
http://chronicle.com/jobs/id.php?id=0000572340-01&pg=e
* Assistant Professor of Dance
Kent State University (Ohio)
(date posted: 9/15/2008)
http://chronicle.com/jobs/id.php?id=0000573069-01&pg=e
* Director of the School of Theater
Ohio University (Ohio)
(date posted: 9/10/2008)
http://chronicle.com/jobs/id.php?id=0000573291-01&pg=e
* Assistant Professor - Studio Teaching, Dance
Ohio University (Ohio)
(date posted: 9/12/2008)
http://chronicle.com/jobs/id.php?id=0000573574-01&pg=e
* Assistant Professor of Theater (History and Literature); Department of Theater and
Dance
Christopher Newport University (Virginia)
(date posted: 9/9/2008)
http://chronicle.com/jobs/id.php?id=0000572997-01&pg=e
University of West Alabama (Alabama)
(date posted: 9/15/2008)
http://chronicle.com/jobs/id.php?id=0000573115-01&pg=e
* Assistant Professor of Violin
Biola University (California)
(date posted: 9/12/2008)
http://chronicle.com/jobs/id.php?id=0000573597-01&pg=e
* Assistant Professor in Performance and Voice
Florida State University (Florida)
(date posted: 9/11/2008)
http://chronicle.com/jobs/id.php?id=0000573112-01&pg=e
* Advanced Assistant/Associate Professor of Film/Video Production
University of Iowa (Iowa)
(date posted: 9/10/2008)
http://chronicle.com/jobs/id.php?id=0000573283-01&pg=e
* Assistant/Associate Professor of Drama
Transylvania University (Kentucky)
(date posted: 9/11/2008)
http://chronicle.com/jobs/id.php?id=0000573383-01&pg=e
* Associate Professor of Theater Studies
Duke University (North Carolina)
(date posted: 9/15/2008)
http://chronicle.com/jobs/id.php?id=0000572340-01&pg=e
* Assistant Professor of Dance
Kent State University (Ohio)
(date posted: 9/15/2008)
http://chronicle.com/jobs/id.php?id=0000573069-01&pg=e
* Director of the School of Theater
Ohio University (Ohio)
(date posted: 9/10/2008)
http://chronicle.com/jobs/id.php?id=0000573291-01&pg=e
* Assistant Professor - Studio Teaching, Dance
Ohio University (Ohio)
(date posted: 9/12/2008)
http://chronicle.com/jobs/id.php?id=0000573574-01&pg=e
* Assistant Professor of Theater (History and Literature); Department of Theater and
Dance
Christopher Newport University (Virginia)
(date posted: 9/9/2008)
http://chronicle.com/jobs/id.php?id=0000572997-01&pg=e
September 14, 2008
September 13, 2008
smart writing about palin
Thank God, finally someone is pointing a finger where it belongs. Not at Palin herself but at the party that has held her up as an equivalent subsitute for Hillary Clinton and has, in effect, created a catfight of national proportions.
-- Susan
Palin: wrong woman, wrong message
Sarah Palin shares nothing but a chromosome with Hillary Clinton. She is Phyllis Schlafly, only younger.
By Gloria Steinem
September 4, 2008
Here's the good news: Women have become so politically powerful that even the anti-feminist right wing -- the folks with a headlock on the Republican Party -- are trying to appease the gender gap with a first-ever female vice president. We owe this to women -- and to many men too -- who have picketed, gone on hunger strikes or confronted violence at the polls so women can vote. We owe it to Shirley Chisholm, who first took the "white-male-only" sign off the White House, and to Hillary Rodham Clinton, who hung in there through ridicule and misogyny to win 18 million votes.
But here is even better news: It won't work. This isn't the first time a boss has picked an unqualified woman just because she agrees with him and opposes everything most other women want and need. Feminism has never been about getting a job for one woman. It's about making life more fair for women everywhere. It's not about a pi ece of the existing pie; there are too many of us for that. It's about baking a new pie.
Selecting Sarah Palin, who was touted all summer by Rush Limbaugh, is no way to attract most women, including die-hard Clinton supporters. Palin shares nothing but a chromosome with Clinton. Her down-home, divisive and deceptive speech did nothing to cosmeticize a Republican convention that has more than twice as many male delegates as female, a presidential candidate who is owned and operated by the right wing and a platform that opposes pretty much everything Clinton's candidacy stood for -- and that Barack Obama's still does. To vote in protest for McCain/Palin would be like saying, "Somebody stole my shoes, so I'll amputate my legs."
This is not to bea up on Palin. I defend her right to be wrong, even on issues that matter most to me. I regret that people say she can't do the job because she has children in need of care, especially if they wouldn't say the same about a father. I get no pleasure from imagining her in the spotlight on national and foreign policy issues about which she has zero background, with one month to learn to compete with Sen. Joe Biden's 37 years' experience.
Palin has been honest about what she doesn't know. When asked last month about the vice presidency, she said, "I still can't answer that question until someone answers for me: What is it exactly that the VP does every day?" When asked about Iraq, she said, "I haven't really focused much on the war in Iraq."
She was elected governor largely because the incumbent was unpopular, and she's won over Alaskans mostly by using unprecedented oil wealth to give a $1,200 rebate to every resident. Now she is being praised by McCain's campaign as a tax cutter, despite the fact that Alaska has no state income or sales tax. Perhaps McCain has opposed affirmative action for so long that he doesn't know it's about inviting more people to meet standards, not lowering them. Or perhaps McCain is following the Bush administration habit, as in the Justice Department, of putting a job candidate's views on "God, guns and gays" ahead of competence. The difference is that McCain is filling a job one 72-year-old heartbeat away from the presidency.
So let's be clear: The culprit is John McCain. He may have chosen Palin out of change-envy, or a belief that women can't tell the difference between form and content, but the main motive was to please right -wing ideologues; the same ones who nixed anyone who is now or ever has been a supporter of reproductive freedom. If that were not the case, McCain could have chosen a woman who knows what a vice president does and who has thought about Iraq; someone like Texas Sen. Kay Bailey Hutchison or Sen. Olympia Snowe of Maine. McCain could have taken a baby step away from right-wing patriarchs who determine his actions, right down to opposing the Violence Against Women Act.
Palin's value to those patriarchs is clear: She opposes just about every issue that women support by a majority or plurality. She believes that creationism should be taught in public schools but disbelieves global warming; she opposes gun control but supports government control of women's wombs; she opposes stem cell research but approves "abstinence-only" programs, which increase unwanted births, sexually transmitted diseases and abortions; she tried to use taxpayers' millions for a state program to shoot wolves from the air but didn't spend enough money to fix a state school system with the lowest high-school graduation rate in the nation; she runs with a candidate who opposes the Fair Pay Act but supports $500 million in subsidies for a natural gas pipeline across Alaska; she supports drilling in the Arctic National Wildlife Reserve, though even McCain has opted for the lesser evil of offshore drilling. She is Phyllis Schlafly, only younger.
I don't doubt her sincerity. As a lifetime member of the National Rifle Assn., she doesn't just support killing animals from helicopters, she does it herself. She doesn't just talk about increasing the use of fossil fuels but puts a coal-burning power plant in her own small town. She doesn't just echo McCain's pledge to criminalize abortion by overturning Roe vs. Wade, she says that if one of her daughters were impregnated by rape or incest, she should bear the child. She not only opposes reproductive freedom as a human right but implies that it dictates abortion, without saying that it also protects the right to have a child.
So far, the major new McCain supporter that Palin has attracted is James Dobson of Focus on the Family. Of course, for Dobson, "women are merely waiting for their husbands to assume leadership," so he may be voting for Palin's husband.
Being a hope-a-holic, however, I can see two long-term bipartisan gains from this contest.
Republicans may learn they can't appeal to right-wi ng patriarchs and most women at the same time. A loss in November could cause the centrist majority of Republicans to take back their party, which was the first to support the Equal Rights Amendment and should be the last to want to invite government into the wombs of women.
And American women, who suffer more because of having two full-time jobs than from any other single injustice, finally have support on a national stage from male leaders who know that women can't be equal outside the home until men are equal in it. Barack Obama and Joe Biden are campaigning on their belief that men should be, can be and want to be at home for their children.
This could be huge.
Gloria Steinem is an author, feminist organizer and co-founder of the Women's Media Center. She supported Hillary Clinton and is now supporting Barack Obama.
-- Susan
Palin: wrong woman, wrong message
Sarah Palin shares nothing but a chromosome with Hillary Clinton. She is Phyllis Schlafly, only younger.
By Gloria Steinem
September 4, 2008
Here's the good news: Women have become so politically powerful that even the anti-feminist right wing -- the folks with a headlock on the Republican Party -- are trying to appease the gender gap with a first-ever female vice president. We owe this to women -- and to many men too -- who have picketed, gone on hunger strikes or confronted violence at the polls so women can vote. We owe it to Shirley Chisholm, who first took the "white-male-only" sign off the White House, and to Hillary Rodham Clinton, who hung in there through ridicule and misogyny to win 18 million votes.
But here is even better news: It won't work. This isn't the first time a boss has picked an unqualified woman just because she agrees with him and opposes everything most other women want and need. Feminism has never been about getting a job for one woman. It's about making life more fair for women everywhere. It's not about a pi ece of the existing pie; there are too many of us for that. It's about baking a new pie.
Selecting Sarah Palin, who was touted all summer by Rush Limbaugh, is no way to attract most women, including die-hard Clinton supporters. Palin shares nothing but a chromosome with Clinton. Her down-home, divisive and deceptive speech did nothing to cosmeticize a Republican convention that has more than twice as many male delegates as female, a presidential candidate who is owned and operated by the right wing and a platform that opposes pretty much everything Clinton's candidacy stood for -- and that Barack Obama's still does. To vote in protest for McCain/Palin would be like saying, "Somebody stole my shoes, so I'll amputate my legs."
This is not to bea up on Palin. I defend her right to be wrong, even on issues that matter most to me. I regret that people say she can't do the job because she has children in need of care, especially if they wouldn't say the same about a father. I get no pleasure from imagining her in the spotlight on national and foreign policy issues about which she has zero background, with one month to learn to compete with Sen. Joe Biden's 37 years' experience.
Palin has been honest about what she doesn't know. When asked last month about the vice presidency, she said, "I still can't answer that question until someone answers for me: What is it exactly that the VP does every day?" When asked about Iraq, she said, "I haven't really focused much on the war in Iraq."
She was elected governor largely because the incumbent was unpopular, and she's won over Alaskans mostly by using unprecedented oil wealth to give a $1,200 rebate to every resident. Now she is being praised by McCain's campaign as a tax cutter, despite the fact that Alaska has no state income or sales tax. Perhaps McCain has opposed affirmative action for so long that he doesn't know it's about inviting more people to meet standards, not lowering them. Or perhaps McCain is following the Bush administration habit, as in the Justice Department, of putting a job candidate's views on "God, guns and gays" ahead of competence. The difference is that McCain is filling a job one 72-year-old heartbeat away from the presidency.
So let's be clear: The culprit is John McCain. He may have chosen Palin out of change-envy, or a belief that women can't tell the difference between form and content, but the main motive was to please right -wing ideologues; the same ones who nixed anyone who is now or ever has been a supporter of reproductive freedom. If that were not the case, McCain could have chosen a woman who knows what a vice president does and who has thought about Iraq; someone like Texas Sen. Kay Bailey Hutchison or Sen. Olympia Snowe of Maine. McCain could have taken a baby step away from right-wing patriarchs who determine his actions, right down to opposing the Violence Against Women Act.
Palin's value to those patriarchs is clear: She opposes just about every issue that women support by a majority or plurality. She believes that creationism should be taught in public schools but disbelieves global warming; she opposes gun control but supports government control of women's wombs; she opposes stem cell research but approves "abstinence-only" programs, which increase unwanted births, sexually transmitted diseases and abortions; she tried to use taxpayers' millions for a state program to shoot wolves from the air but didn't spend enough money to fix a state school system with the lowest high-school graduation rate in the nation; she runs with a candidate who opposes the Fair Pay Act but supports $500 million in subsidies for a natural gas pipeline across Alaska; she supports drilling in the Arctic National Wildlife Reserve, though even McCain has opted for the lesser evil of offshore drilling. She is Phyllis Schlafly, only younger.
I don't doubt her sincerity. As a lifetime member of the National Rifle Assn., she doesn't just support killing animals from helicopters, she does it herself. She doesn't just talk about increasing the use of fossil fuels but puts a coal-burning power plant in her own small town. She doesn't just echo McCain's pledge to criminalize abortion by overturning Roe vs. Wade, she says that if one of her daughters were impregnated by rape or incest, she should bear the child. She not only opposes reproductive freedom as a human right but implies that it dictates abortion, without saying that it also protects the right to have a child.
So far, the major new McCain supporter that Palin has attracted is James Dobson of Focus on the Family. Of course, for Dobson, "women are merely waiting for their husbands to assume leadership," so he may be voting for Palin's husband.
Being a hope-a-holic, however, I can see two long-term bipartisan gains from this contest.
Republicans may learn they can't appeal to right-wi ng patriarchs and most women at the same time. A loss in November could cause the centrist majority of Republicans to take back their party, which was the first to support the Equal Rights Amendment and should be the last to want to invite government into the wombs of women.
And American women, who suffer more because of having two full-time jobs than from any other single injustice, finally have support on a national stage from male leaders who know that women can't be equal outside the home until men are equal in it. Barack Obama and Joe Biden are campaigning on their belief that men should be, can be and want to be at home for their children.
This could be huge.
Gloria Steinem is an author, feminist organizer and co-founder of the Women's Media Center. She supported Hillary Clinton and is now supporting Barack Obama.
September 12, 2008
tcg grant
Theatre Communications Group Accepting Applications for New Generations Program
Deadline: October 6, 2008 (Online Registration)
An initiative of the Doris Duke Charitable Foundation ( http://www.ddcf.org/ ), the Andrew W. Mellon Foundation ( http://www.mellon.org/ ), and the Theatre Communications Group ( http://www.tcg.org/ ), the New Generations Program is accepting preliminary proposals for its Future Leaders and Future Audiences components.
The Future Leaders program provides emerging leaders in the theater field with mentoring by accomplished theater professionals through a paid mentorship. The program provides $76,000 ($38,000/ year) to the host theater in support of a two-year mentorship, with an additional $15,000 available to the mentee for student loan repayment. The program seeks to nurture future leaders in all areas of theater, including but not limited to acting, administration/management, craft areas, design, directing, dramaturgy/ literary management, playwriting, producing, stage management, or technical production. The proposed mentor must be a full-time employee of the host theater at the time of application. The mentee may not be enrolled in a full-time university or conserva- tory training program at the commencement of the mentorship.
The Future Audiences program provides a matching grant of up to $65,000 ($32,500/year) to the theater in support of the expansion and strengthening of relationships with young, culturally spe- cific, disabled, and/or underserved audiences through creative audience cultivation efforts that have proven to be effective.
Applications will be accepted from theaters for whom support will allow expansion or significant improvement of efforts that have proven to be successful and have been implemented for at least two years. Applications will not be accepted to create new programs, but new strategies created as part of an existing program are eligible. All applicant theaters must meet the following requirements: possess 501(c)(3) status; be located within the United States or its territories; employ at least one full-time salaried staff person; have a minimum of three years' prior existence as a non- profit professional organization; have a history of mounting its own theater productions within the previous year; and possess organizational capacity to implement the projected activity. Theaters may only apply to one program, either Future Leaders or Future Audiences. See the TCG Web site for complete program information and application procedures.
RFP Link: http://fconline.foundationcenter.org/pnd/15015001/tcgorg
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
Deadline: October 6, 2008 (Online Registration)
An initiative of the Doris Duke Charitable Foundation ( http://www.ddcf.org/ ), the Andrew W. Mellon Foundation ( http://www.mellon.org/ ), and the Theatre Communications Group ( http://www.tcg.org/ ), the New Generations Program is accepting preliminary proposals for its Future Leaders and Future Audiences components.
The Future Leaders program provides emerging leaders in the theater field with mentoring by accomplished theater professionals through a paid mentorship. The program provides $76,000 ($38,000/ year) to the host theater in support of a two-year mentorship, with an additional $15,000 available to the mentee for student loan repayment. The program seeks to nurture future leaders in all areas of theater, including but not limited to acting, administration/management, craft areas, design, directing, dramaturgy/ literary management, playwriting, producing, stage management, or technical production. The proposed mentor must be a full-time employee of the host theater at the time of application. The mentee may not be enrolled in a full-time university or conserva- tory training program at the commencement of the mentorship.
The Future Audiences program provides a matching grant of up to $65,000 ($32,500/year) to the theater in support of the expansion and strengthening of relationships with young, culturally spe- cific, disabled, and/or underserved audiences through creative audience cultivation efforts that have proven to be effective.
Applications will be accepted from theaters for whom support will allow expansion or significant improvement of efforts that have proven to be successful and have been implemented for at least two years. Applications will not be accepted to create new programs, but new strategies created as part of an existing program are eligible. All applicant theaters must meet the following requirements: possess 501(c)(3) status; be located within the United States or its territories; employ at least one full-time salaried staff person; have a minimum of three years' prior existence as a non- profit professional organization; have a history of mounting its own theater productions within the previous year; and possess organizational capacity to implement the projected activity. Theaters may only apply to one program, either Future Leaders or Future Audiences. See the TCG Web site for complete program information and application procedures.
RFP Link: http://fconline.foundationcenter.org/pnd/15015001/tcgorg
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
grant for chamber music
National Endowment for the Arts Invites Applications for American Masterpieces: Chamber Music
Deadline: October 10, 2008
American Masterpieces: Three Centuries of Artistic Genius ( http://www.nea.gov/national/masterpieces/index.html ) is a major initiative to acquaint Americans with the best of their cultural and artistic legacy. Through American Masterpieces, the National Endowment for the Arts ( http://www.nea.gov/ ) will sponsor performances, exhibitions, tours, and educational prog- rams across all art forms that reach large and small communities in all fifty states. The Chamber Music component of American Masterpieces will pro- vide grants for chamber music performances in conjunction with educational activities that highlight specific repertoire by American composers and enable ensembles to engage with communi- ties in a variety of settings.
The NEA is particularly interested in projects that have at least one performance and two educa- tional activities. For the purposes of this initiative, chamber music generally is defined as one player to a part, performed without a conductor, with between two and ten players; duos must perform as an en- semble of equal partners. Chamber music encompasses music for traditional ensembles such as string quartets and trios, as well as compositions for mixed ensembles, traditional and indigenous instruments, and jazz. Projects may include recordings and broad- casts. Commissions and premiere performances are not eligible. Projects must be accompanied by related educational, inter- pretive, or contextual components. Nonprofit, tax-exempt 501(c)(3), U.S.-based organizations; units of state or local government; or federally recognized tribal com- munities or tribes may apply.
Projects may be initiated by eligible organizations of all sizes, genres, and aesthetics, including ensembles, presenters, festivals, and colleges and universities. Applicants must have a three-year history of programming that includes the production or presentation of chamber music perfor- mances and educational activities prior to the application deadline. Grants generally will range from $5,000 to $75,000 each and require a non-federal match of at least 1:1. See the NEA Web site for complete program information.
RFP Link: http://fconline.foundationcenter.org/pnd/15015000/neagov
Deadline: October 10, 2008
American Masterpieces: Three Centuries of Artistic Genius ( http://www.nea.gov/national/masterpieces/index.html ) is a major initiative to acquaint Americans with the best of their cultural and artistic legacy. Through American Masterpieces, the National Endowment for the Arts ( http://www.nea.gov/ ) will sponsor performances, exhibitions, tours, and educational prog- rams across all art forms that reach large and small communities in all fifty states. The Chamber Music component of American Masterpieces will pro- vide grants for chamber music performances in conjunction with educational activities that highlight specific repertoire by American composers and enable ensembles to engage with communi- ties in a variety of settings.
The NEA is particularly interested in projects that have at least one performance and two educa- tional activities. For the purposes of this initiative, chamber music generally is defined as one player to a part, performed without a conductor, with between two and ten players; duos must perform as an en- semble of equal partners. Chamber music encompasses music for traditional ensembles such as string quartets and trios, as well as compositions for mixed ensembles, traditional and indigenous instruments, and jazz. Projects may include recordings and broad- casts. Commissions and premiere performances are not eligible. Projects must be accompanied by related educational, inter- pretive, or contextual components. Nonprofit, tax-exempt 501(c)(3), U.S.-based organizations; units of state or local government; or federally recognized tribal com- munities or tribes may apply.
Projects may be initiated by eligible organizations of all sizes, genres, and aesthetics, including ensembles, presenters, festivals, and colleges and universities. Applicants must have a three-year history of programming that includes the production or presentation of chamber music perfor- mances and educational activities prior to the application deadline. Grants generally will range from $5,000 to $75,000 each and require a non-federal match of at least 1:1. See the NEA Web site for complete program information.
RFP Link: http://fconline.foundationcenter.org/pnd/15015000/neagov
grant for visual artists
Joyce Dutka Arts Foundation Seeks Entries for Visual Arts Contest
Deadline: December 1, 2008
As part of its mission to identify talented artists who are in need of financial assistance in order to reach their goals, the Joyce Dutka Arts Foundation ( http://www.jdutka.com/ ) is spon- soring a juried visual arts contest. Artwork must fall into one of the following categories: oil, acrylic, and mixed media. All subjects and styles are eligible. Cash awards will total up to $5,000. Artists will have their work exhibited and offered for sale at Madison Avenue's Hollis Taggert Galleries. Entry requires a non-refundable application fee of $25. Visit the foundation's Web site for complete entry guidelines and information on the foundation's other programs.
RFP Link: http://fconline.foundationcenter.org/pnd/15014999/jdutka
Deadline: December 1, 2008
As part of its mission to identify talented artists who are in need of financial assistance in order to reach their goals, the Joyce Dutka Arts Foundation ( http://www.jdutka.com/ ) is spon- soring a juried visual arts contest. Artwork must fall into one of the following categories: oil, acrylic, and mixed media. All subjects and styles are eligible. Cash awards will total up to $5,000. Artists will have their work exhibited and offered for sale at Madison Avenue's Hollis Taggert Galleries. Entry requires a non-refundable application fee of $25. Visit the foundation's Web site for complete entry guidelines and information on the foundation's other programs.
RFP Link: http://fconline.foundationcenter.org/pnd/15014999/jdutka
a new website launching
I am very excited to share with you the announcement of our new business - CITY BEAUTY GUIDE. While the information below will introduce you to the concept, this first phase of the business is the most critical and I want to personally ask for your help to get the email circulating. Please click the link below, take the survey (it's quick and easy) and submit your reviews for the beauty or grooming services you do. Please then forward the email below to your friends, family and business associates and ask them to do the same. Remember your Facebook and LinkedIn networks too! Your contribution will help us build a robust database of salon and spa reviews before we launch the fully searchable CITY BEAUTY GUIDE website. Thank you for your time and support. I know you both have such a great network of friends and contacts and hope that you will forward this and ask them to do the survey and spread the word!
xo Julie
We are very excited to introduce you to CITY BEAUTY GUIDE, our new business venture. Our goal is quite simple - to create a comprehensive guide to salons and spas based on collective consumer reviews and ratings.
CITY BEAUTY GUIDE will solve the problem of "too much choice," "best value for money," "how do I know it's really good?" and "don't know where to go" a little like your favorite restaurant guide.
While magazines continue to be a great resource for expert editorial opinion and what's "hot," nothing beats real life recommendations from women who have experienced the good, the bad, and the ugly. In the world of beauty and grooming, peer opinion is King (or Queen, as the case may be!).
Before the CITY BEAUTY GUIDE website and book come to life, we need to capture thousands of consumer reviews. We ask you to take this brief online survey and share your opinions of the various salons and spa services that you visit.
Looking and feeling good isn't just our passion, now it's our business. CITY BEAUTY GUIDE will fast become your "go-to" guide to beauty and grooming spots from coast-to-coast, starting with New York City.
So go ahead, in the name of beauty, click here: www.citybeautyguide.com and share your point of view!
The CITYBEAUTYGUIDE Team
P.S.Please forward this email to your friends, family and associates and ask them to participate.
xo Julie
We are very excited to introduce you to CITY BEAUTY GUIDE, our new business venture. Our goal is quite simple - to create a comprehensive guide to salons and spas based on collective consumer reviews and ratings.
CITY BEAUTY GUIDE will solve the problem of "too much choice," "best value for money," "how do I know it's really good?" and "don't know where to go" a little like your favorite restaurant guide.
While magazines continue to be a great resource for expert editorial opinion and what's "hot," nothing beats real life recommendations from women who have experienced the good, the bad, and the ugly. In the world of beauty and grooming, peer opinion is King (or Queen, as the case may be!).
Before the CITY BEAUTY GUIDE website and book come to life, we need to capture thousands of consumer reviews. We ask you to take this brief online survey and share your opinions of the various salons and spa services that you visit.
Looking and feeling good isn't just our passion, now it's our business. CITY BEAUTY GUIDE will fast become your "go-to" guide to beauty and grooming spots from coast-to-coast, starting with New York City.
So go ahead, in the name of beauty, click here: www.citybeautyguide.com and share your point of view!
The CITYBEAUTYGUIDE Team
P.S.Please forward this email to your friends, family and associates and ask them to participate.
September 08, 2008
James Denton to Star in El Portal's How Cissy Grew
And another listing on today's Theatermania.com site: http://www.theatermania.com/content/news.cfm/story/15199
By: Brian Scott Lipton · Sep 8, 2008 · Los Angeles
James Denton, who plays Mike Delfino on the ABC hit series Desperate Housewives, will star in Susan Johnston's play How Cissy Grew, to play North Hollywood's El Portal Theatre, October 16-November 23. The production will be directed by Casey Stangl
The show involves a baby girl named Cissy, who is abducted but quickly returned to her parents, who evolves over the next 20 years into a sexually promiscuous, fearless, and sometimes callous young woman. It will also star Erin J. O'Brien, Liz Vital, and Stewart V. Calhoun.For tickets and information, call 818-508-4200 or visit http://www.elportaltheatre.com/.
"Housewives" Star Denton Cast in World Premiere of How Cissy Grew
Check out the article in today's Playbill.com feature:By Andrew Gans
08 Sep 2008
James Denton, best known for playing Mike Delfino on the ABC hit "Desperate Housewives," will co-star in the world premiere of Susan Johnston's How Cissy Grew.
Directed by Casey Stangl, the production will begin previews at the El Portal Forum Theatre in North Hollywood Oct. 16 with an official opening scheduled for Oct. 18. Performances will continue through Nov. 23.
In addition to Denton, the cast will also feature Erin J. O'Brien, Liz Vital and Stewart W. Calhoun.
How Cissy Grew, according to press notes, is described as such: "In West Virginia, a baby girl named Cissy is abducted, and then swiftly returned to her parents. While she has no memory of those few terrible days, their ramifications haunt her family for the next twenty years. While her parents take sides in a battle that can't be won, Cissy becomes a sexually promiscuous, fearless and sometimes callous young woman with a penchant for her mom's stash and innocent boys. By turns tough and fragile, smart and foolhardy, savvy and naïve, Cissy is a complicated soul … but is she a creation of a long-ago tragedy, or of her parents' inability to cope?"
How Cissy Grew, according to press notes, is described as such: "In West Virginia, a baby girl named Cissy is abducted, and then swiftly returned to her parents. While she has no memory of those few terrible days, their ramifications haunt her family for the next twenty years. While her parents take sides in a battle that can't be won, Cissy becomes a sexually promiscuous, fearless and sometimes callous young woman with a penchant for her mom's stash and innocent boys. By turns tough and fragile, smart and foolhardy, savvy and naïve, Cissy is a complicated soul … but is she a creation of a long-ago tragedy, or of her parents' inability to cope?"
D-I-Y Project produces in association with SeaGlass Theatre.
Show times are Thursday-Saturday at 8 PM and Sunday at 3 PM.
The El Portal Forum Theatre is located at 5269 Lankershim Blvd. in North Hollywood, CA. Tickets, priced $20-$40, are available by calling (818) 508-4200 or (866) 811-4111 or by visiting http://www.elportaltheatre.com/
teaching the arts
* Assistant Professor of Theatre Acting
Fairfield University (Connecticut) (date posted: 9/8/2008)
http://chronicle.com/jobs/id.php?id=0000572046-01&pg=e
* Faculty, Theater - 016701
Miami Dade College (Florida) (date posted: 9/2/2008)
http://chronicle.com/jobs/id.php?id=0000571846-01&pg=e
* Assistant Professors: Department of Music
Keene State College (New Hampshire) (date posted: 9/8/2008)
http://chronicle.com/jobs/id.php?id=0000571995-01&pg=e
* Design/Technical Theatre Position
State University of New York College at Potsdam (New York) (date posted: 9/4/2008)
http://chronicle.com/jobs/id.php?id=0000572297-01&pg=e
* Assistant, Associate Professor or Full Theatre Professor
Ohio State University (Ohio) (date posted: 9/3/2008)
http://chronicle.com/jobs/id.php?id=0000572214-01&pg=e
* Positions in School of Communication and Theatre
Temple University (Pennsylvania) (date posted: 9/8/2008)
http://chronicle.com/jobs/id.php?id=0000571341-01&pg=e
Fairfield University (Connecticut) (date posted: 9/8/2008)
http://chronicle.com/jobs/id.php?id=0000572046-01&pg=e
* Faculty, Theater - 016701
Miami Dade College (Florida) (date posted: 9/2/2008)
http://chronicle.com/jobs/id.php?id=0000571846-01&pg=e
* Assistant Professors: Department of Music
Keene State College (New Hampshire) (date posted: 9/8/2008)
http://chronicle.com/jobs/id.php?id=0000571995-01&pg=e
* Design/Technical Theatre Position
State University of New York College at Potsdam (New York) (date posted: 9/4/2008)
http://chronicle.com/jobs/id.php?id=0000572297-01&pg=e
* Assistant, Associate Professor or Full Theatre Professor
Ohio State University (Ohio) (date posted: 9/3/2008)
http://chronicle.com/jobs/id.php?id=0000572214-01&pg=e
* Positions in School of Communication and Theatre
Temple University (Pennsylvania) (date posted: 9/8/2008)
http://chronicle.com/jobs/id.php?id=0000571341-01&pg=e
September 05, 2008
Side Dish: Party's over for GOP tell-all
Friday, September 5th 2008, 4:00 AM
Former top Republican fund-raiser Nicole Sexton's roman à clef, "Party Favors," may have hit too close to home for some old party grandees. Sexton, who exposes the underside of campaign financing in her novel, was due to have a book-signing this week in Minneapolis. But unnamed GOP officials "put pressure" on Sexton and her current employer, Bono's One organization, to scratch the Barnes & Noble appearance, according to her lit agent, Maura Teitelbaum. "Her signing at the DNC went off smoothly, but the Republicans felt that her book could embarrass politicians," Teitelbaum tells us.
Former top Republican fund-raiser Nicole Sexton's roman à clef, "Party Favors," may have hit too close to home for some old party grandees. Sexton, who exposes the underside of campaign financing in her novel, was due to have a book-signing this week in Minneapolis. But unnamed GOP officials "put pressure" on Sexton and her current employer, Bono's One organization, to scratch the Barnes & Noble appearance, according to her lit agent, Maura Teitelbaum. "Her signing at the DNC went off smoothly, but the Republicans felt that her book could embarrass politicians," Teitelbaum tells us.
September 04, 2008
Heard on the Hill: Too Sexy for the Twin Cities?
By Emily Heil and Elizabeth Brotherton
Roll Call Staff
September 4, 2008
Her novel dishes about the seamy side of the political fundraising world — particularly the one inside the GOP’s money-making machine — so one wouldn’t expect former Republican fundraiser Nicole Sexton, who’s now with the ONE Campaign, to be the GOP’s favorite author.
Still, those who felt exposed by the truth-as-fiction book “Party Favors” apparently took their literary tastes a bit further than just taking the book off the list for the next book club gathering. According to his agent, Sexton canceled a book signing scheduled for Sept. 2 at a local Barnes & Noble bookstore because “top GOP officials” put pressure on her and on the nonpartisan ONE Campaign to nix the event.
September 4, 2008
Her novel dishes about the seamy side of the political fundraising world — particularly the one inside the GOP’s money-making machine — so one wouldn’t expect former Republican fundraiser Nicole Sexton, who’s now with the ONE Campaign, to be the GOP’s favorite author.
Still, those who felt exposed by the truth-as-fiction book “Party Favors” apparently took their literary tastes a bit further than just taking the book off the list for the next book club gathering. According to his agent, Sexton canceled a book signing scheduled for Sept. 2 at a local Barnes & Noble bookstore because “top GOP officials” put pressure on her and on the nonpartisan ONE Campaign to nix the event.
A similar event at a Denver-area Borders bookstore during the Democratic National Convention went off without a hitch.
Sexton’s literary agent, Maura Teitelbaum, who’s with Abrams Artists Agency, says Republicans didn’t like the way their buck-raking operations were portrayed in the novel, which follows a young fundraiser who becomes disenchanted with the venality and loose ethics of her profession.
“It’s a shame that in this historic presidential election, when we should be focused on important issues like the economy and the war and global warming, that there are politicians that feel it’s important to squash a book signing,” she tells HOH. “It’s disheartening.”
“It’s a shame that in this historic presidential election, when we should be focused on important issues like the economy and the war and global warming, that there are politicians that feel it’s important to squash a book signing,” she tells HOH. “It’s disheartening.”
GOPers might not have liked the book’s (fictional, of course) depiction of some fundraisers who skimmed huge amounts of money from their donors, or the way fundraisers REALLY view many donors — with a combination of pity and repulsion. An RNC spokesman said he knew nothing of the incident. But Teitelbaum says the book should open people’s eyes to dirty secrets on both sides of the aisle. Besides, she says, it’s just a fun read.
“I mean, it’s a pink-and-fuschia-covered book!” she tells us.
Former NRSC Staffer Told to Leave Her Party Favors at Home
Word of our book signing cancellation is spreading:
September 4, 2008
Ex -NRSC Finance guru Nicole Sexton, recent author of a tell-all fiction book about the ugliness of raising political monies, has been told by her former employers, thanks, but no thanks - and was gently forced to cancel a book signing this week in the Twin Cities.
According to Roll Call:
…
Her novel dishes about the seamy side of the political fundraising world - particularly the one inside the GOP’s money-making machine - so one wouldn’t expect former Republican fundraiser Nicole Sexton, who’s now with the ONE Campaign, to be the GOP’s favorite author.
…
Still, those who felt exposed by the truth-as-fiction book “Party Favors” apparently took their literary tastes a bit further than just taking the book off the list for the next book club gathering. According to his agent, Sexton canceled a book signing scheduled for Sept. 2 at a local Barnes & Noble bookstore because “top GOP officials” put pressure on her and on the nonpartisan ONE Campaign to nix the event.
But just how did the “other” party in Denver receive the book signing?
A similar event at a Denver-area Borders bookstore during the Democratic National Convention went off without a hitch.
Perhaps her “fiction” book hits a little too close to home.
Ex -NRSC Finance guru Nicole Sexton, recent author of a tell-all fiction book about the ugliness of raising political monies, has been told by her former employers, thanks, but no thanks - and was gently forced to cancel a book signing this week in the Twin Cities.
According to Roll Call:
…
Her novel dishes about the seamy side of the political fundraising world - particularly the one inside the GOP’s money-making machine - so one wouldn’t expect former Republican fundraiser Nicole Sexton, who’s now with the ONE Campaign, to be the GOP’s favorite author.
…
Still, those who felt exposed by the truth-as-fiction book “Party Favors” apparently took their literary tastes a bit further than just taking the book off the list for the next book club gathering. According to his agent, Sexton canceled a book signing scheduled for Sept. 2 at a local Barnes & Noble bookstore because “top GOP officials” put pressure on her and on the nonpartisan ONE Campaign to nix the event.
But just how did the “other” party in Denver receive the book signing?
A similar event at a Denver-area Borders bookstore during the Democratic National Convention went off without a hitch.
Perhaps her “fiction” book hits a little too close to home.
September 03, 2008
GOP Rejects Party Favors at Republican National Convention
Fishbowl NY
Mediabistro.com
Wednesday, Sep 03
Gustav may have shut down most of the Republican National Convention, but the Republicans have shut down a Party Favors book reading and signing. Nicole Sexton, co-author with ghostwriter Susan Johnston and the woman whose life has been fictionalized in the book's pages, has been asked to cancel her upcoming events in Minneapolis by one of the biggest players in the Republican party. This Senator Who Shall Remain Nameless (though if you put your spyglasses on, is also a character in the book) seems rather threatened by this "beach read," "chick-lit," work of fiction. If he's even bothered to read it, then the light that authors Sexton and Johnston shed on fundraising and campaign-related tactics must be more natural than fluorescent.
But, as Johnston details in a release sent today announcing the event's cancellation, Sexton no longer has any affiliation with the Republican party, is critical of both sides of the aisle, continually espouses the book's fictional status, and just held a similar signing event in Denver with the Democrats. "Apparently the GOP feels that the book is critical of GOP fundraising and campaign related tactics and therefore a book signing could be embarrassing to the party," Johnston wrote. "Why is the GOP so scared of a book signing? Clearly, they see this book as a threat."
congrats to steph!
Congrats to our girl Stephanie McWilliams who is featured in this month's SOUTH magazine. Click on this link to check out her article!
GOP KILLS “PARTY FAVORS” READING AT RNC
Well, it’s finally happened. The GOP has officially shut us down. Our book signing in Minneapolis has been cancelled. Apparently the GOP feels that the book is critical of GOP fundraising and campaign related tactics and therefore a book signing could be embarrassing to the Party.
Nicole doesn’t even work for them anymore! She no longer has any affiliation with the Republican Senate and in fact, the book is critical of fundraising efforts on both sides of the aisle. She had a reading/signing in Denver but the Democrats didn’t shut her down!
Maura Teitelbaum of Abrams Artists Agency issued this statement, “As a first time novelist, it is critical that Nicole make herself available whenever possible to market the book and reach reading audiences. Canceling this event is therefore an even more undue hardship than would otherwise be the case.”
If we’re just an innocent “beach-read” and “chick-lit novel” then why is the GOP so scared of a book signing??? Clearly, they see this book as a threat.
Please help us get the word out about PARTY FAVORS being shut down. Feel free to send this information to your media contacts or anyone you think can be helpful. Feel free to blog about it, post it or yell it from the mountaintops.
People who want more information about this can contact:
Maura Teitelbaum, Abrams Artists Agency
maura.teitelbaum@abramsartny.com
or
Marina Ein, Ein Communications
rebecca@eincomm.com
Thanks for your help.
Susan
Nicole doesn’t even work for them anymore! She no longer has any affiliation with the Republican Senate and in fact, the book is critical of fundraising efforts on both sides of the aisle. She had a reading/signing in Denver but the Democrats didn’t shut her down!
Maura Teitelbaum of Abrams Artists Agency issued this statement, “As a first time novelist, it is critical that Nicole make herself available whenever possible to market the book and reach reading audiences. Canceling this event is therefore an even more undue hardship than would otherwise be the case.”
If we’re just an innocent “beach-read” and “chick-lit novel” then why is the GOP so scared of a book signing??? Clearly, they see this book as a threat.
Please help us get the word out about PARTY FAVORS being shut down. Feel free to send this information to your media contacts or anyone you think can be helpful. Feel free to blog about it, post it or yell it from the mountaintops.
People who want more information about this can contact:
Maura Teitelbaum, Abrams Artists Agency
maura.teitelbaum@abramsartny.com
or
Marina Ein, Ein Communications
rebecca@eincomm.com
Thanks for your help.
Susan
September 01, 2008
teaching the arts
* Multiple Positions: Science, Education, Business, Medicine, Art, Social and Behavorial Sciences, Humanities, Professional, Acadmic Affairs, Student Affairs Auburn University (Alabama) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570998-01&pg=e
* Modern Dance Instructor and Director of String Studies California State University at Long Beach (California) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000571057-01&pg=e
* Chair, Department of Theatre Chapman University (California) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000568143-01&pg=e
* Faculty Positions Claremont University Consortium (California) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000571181-01&pg=e
* Multiple Faculty Positions Colorado College (Colorado) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570113-01&pg=e
* Instructor, Dance Southern Illinios University Edwardsville (Illinois) (date posted: 8/28/2008) http://chronicle.com/jobs/id.php?id=0000571522-01&pg=e
* Assistant Professor/Director, Theatre St. Ambrose University (Iowa) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000569699-01&pg=e
* College of Arts and Humanities Faculty - Fall 2009 University of Maryland at College Park (Maryland) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570955-01&pg=e
* Faculty Positions Williams College (Massachusetts) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570684-01&pg=e
* Department Heads Missouri State University (Missouri) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570839-01&pg=e
* Multiple Faculty Positions in Music and Dance University of Oregon (Oregon) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000569702-01&pg=e
* Faculty and Administrative Openings in Academic Affairs East Stroudsburg University of Pennsylvania (Pennsylvania) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570195-01&pg=e
* Faculty Openings for Fall 2009 By Discipline and Campus Pennsylvania State University-Commonwealth College (Pennsylvania) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570976-01&pg=e
* Faculty Positions, College of Arts and Sciences Baylor University (Texas) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570748-01&pg=e
* Theatre Lecturer and Technical Director Old Dominion University (Virginia) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000569980-01&pg=e
* Artist in Residence, University of Washington Dance Program University of Washington (Washington) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570774-01&pg=e
* Modern Dance Instructor and Director of String Studies California State University at Long Beach (California) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000571057-01&pg=e
* Chair, Department of Theatre Chapman University (California) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000568143-01&pg=e
* Faculty Positions Claremont University Consortium (California) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000571181-01&pg=e
* Multiple Faculty Positions Colorado College (Colorado) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570113-01&pg=e
* Instructor, Dance Southern Illinios University Edwardsville (Illinois) (date posted: 8/28/2008) http://chronicle.com/jobs/id.php?id=0000571522-01&pg=e
* Assistant Professor/Director, Theatre St. Ambrose University (Iowa) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000569699-01&pg=e
* College of Arts and Humanities Faculty - Fall 2009 University of Maryland at College Park (Maryland) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570955-01&pg=e
* Faculty Positions Williams College (Massachusetts) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570684-01&pg=e
* Department Heads Missouri State University (Missouri) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570839-01&pg=e
* Multiple Faculty Positions in Music and Dance University of Oregon (Oregon) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000569702-01&pg=e
* Faculty and Administrative Openings in Academic Affairs East Stroudsburg University of Pennsylvania (Pennsylvania) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570195-01&pg=e
* Faculty Openings for Fall 2009 By Discipline and Campus Pennsylvania State University-Commonwealth College (Pennsylvania) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570976-01&pg=e
* Faculty Positions, College of Arts and Sciences Baylor University (Texas) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570748-01&pg=e
* Theatre Lecturer and Technical Director Old Dominion University (Virginia) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000569980-01&pg=e
* Artist in Residence, University of Washington Dance Program University of Washington (Washington) (date posted: 9/1/2008) http://chronicle.com/jobs/id.php?id=0000570774-01&pg=e
August 29, 2008
NPR chooses Party Favors for "Books We Like"
Books We Like by Lizzie Skurnick
Power, Politics — And Party Planning
http://www.npr.org/templates/story/story.php?storyId=94064968
Party Favors By Nicole Sexton and Susan Johnston
Hardcover, 256 Pages
The Lyons Press
List Price: $24.95
Read an excerpt.
NPR.org, August 29, 2008 · In an era when bookstores brim with memoirs, tell-alls and doorstopper biographies by politicos past and present, we still tend to think of the tart political novel as province of the Democrats. The Grand Old Party's tastes run strictly to Clancy-esque thrillers and mothballed war stories.
But we're in a bipartisan moment. If Nicole Sexton's Party Favors is any indication, the act of reaching across the aisle is spreading to the Barnes & Noble literature section.
Delightful works of political fiction, such as NPR host Scott Simon's Windy City and, of course, Joe Klein's seminal Primary Colors, traverse the minefield between a politician's public and private lives. Sexton, the former director of finance for the National Republican Senatorial Committee, illuminates a similar landscape. But, as befits a champion checkbook-wrangler and schmoozer, she and her co-author, playwright Susan Johnston, set a breezy how's-the-wife-and-kids tone that stops just short of handing the reader a cold drink.
Temple Sachet is a Southern belle on the deb track who gets pulled into politics after she organizes a run of local, record-breaking fundraisers. A devastating combo of brains, blondness and sheer will, she rockets, in just a few years, through county and state elections to rise to the position of second-most-powerful Republican fundraiser in the nation. "It took two gays and a bigot to put me there," Temple acidly remarks, "but apparently in the Republican Party, two parts homo-nepotism with just a splash of racist scandal equals a powerful new job."
Temple also blithely deconstructs other hypocrisies of her chosen trade, such as the strategic placement of donors into tiers ("Team Victory, Force GOP, the Patriots, and the Upper House. Each level had its own particular brand of fanaticism.") and the character-revealing cash-raking styles practiced by her colleagues ("Shark," "Professional," "Crash & Burner").
Had Sexton been a Democrat rather than a Republican at heart, Party Favors would have simply been an act of literary pandering. Still, her point isn't for right-wingers to fly the conservative coop. "I'm a good capitalist, I am," Temple tells us. "I spend. I earn. I love meeting people who came from nothing and now own half a city." Temple's quarrel isn't with the party's platform, but with its practices — how her colleagues skim 90 percent off the take, sexually harass interns and publicly scorn her gay mentors and colleagues, upon whom they all depend.
It's not about being Republican or Democrat. It's about not being greedy, ignorant or a hypocrite. "Why," Temple asks, "was I raising $95 million for senators without fully understanding their platforms?" In an election year, that's surely something we can all get behind.
Excerpt: 'Party Favors'
by Nicole Sexton and Susan Johnston
Party FavorsBy Nicole Sexton and Susan JohnstonHardcover, 256 PagesThe Lyons PressList Price: $24.95
NPR.org, August 28, 2008 · Prologue
Gray Two is So Not Tall
Everything about the dinner had to be absolutely 110 percent fantastic. First and foremost, I needed to look amazing, which I did, in my most conservative, but still va-va-va-voom, belted, black silk YSL suit accessorized with a stunningly bright turquoise Hermes scarf, since I'm Southern and able to pull off risky wardrobe choices with my colorful bursts of personality.
Second and even more important, my staff needed sharp eyes, fast hands, and tip-tip-tippy toes. Majority Leader Ivy's historic three-story brownstone was not only filled to the gills with one hundred of my top-tier Team Victory donors, it was also bursting at the seams with irreplaceable antiques curated by his refined, intelligent, and Parisian wife, Genevieve. I'd instructed my junior staffers to stay in service overdrive: "Donors will be drinking; sloppiness is bound to ensue. I need all eyes on the relics. Thank you." My pre-party pep talk had been taken to heart. The young ones were zipping around, unseen and unheard, effectively anticipating the accidental bumpings of Mrs. Ivy's precariously placed artifacts.
Third and most critical of all, I needed happy donors. A happy donor equaled cash money green. An unhappy donor equaled bye-bye Senate seat. These Team Victorys were my most privileged, most pampered, most jaded, and hardest to impress givers. They hadn't ponied up fifty grand per couple just to meet Majority Leader Ivy or his wife. Most already knew the six most powerful senators, those in Leadership, I'd secured specifically for the evening. They weren't even there to chat up President Gray or his grumpy, grumpy V.P. who cursed people under his breath and always showed up with a badly bonked head or sprained ankle. No, my Team Victorys weren't interested in handshaking. They paid to see the house.
Donors love themselves some houses. They will pay out their a-double-s to see if there's a hamper with dirty clothes, if the fridge is covered in family pictures. They will do everything in their power to sneak a glance at that marital bed. Nosy, nosy, nosy. Since taking the job that catapulted my career from little old me to Big Money Babe, I'd become D.C.'s version of Robin Leach, offering check-writers a glimpse of the Republican Senate's "champagne wishes and caviar dreams." For a hefty price, of course.
Big bucks meant big donors expected big parties to big-time rock-there'd better be A-list entertainment, free-flowing top-shelf booze, plentiful hors d'oeuvres plus a catered sit-down dinner, unfettered access to politicians, and there absolutely, no doubt about it, had to be a click line. Because clicks are donor crack.
Every donor, no matter the size of their wallet, wants a picture of themselves smiling with Someone Important. Even if they are Someone More Important and they already have fifteen identical pictures, they will stand in their cocktail dress or tux, waiting like an anxious kid braving a monster roller coaster.
The click line itself is just a cleaned-up carnie trick, a frenetic hurricane of pushing and smiling and shaking and flashing and clicking and pulling and pushing and smiling and go, go, go, go, go, go until every last donor has had their twelve seconds with a Hot Shot. It's ludicrous. Not the slightest bit glamorous. And yet, if I'd ever even suggested throwing a fundraiser in D.C. sans click line, I would have been run out of town as a heretic.
Which is why, in a house full of priceless museum treasures, I had one hundred donors and all my staff squeezed into the well-carpeted, less fragile, "books don't break when they fall" library. I'd vetoed the conventional, tacky blue velour pipe-and-drape backdrop and opted instead to put Majority Leader Ivy and Genevieve on a toe mark in front of their mahogany shelves filled with leather-bound tomes. My donors were beyond happy. They were click-crack wild, high from the unprecedented inner-sanctum access. Their clicks would appear more personal, more intimate, more real. They'd frame the photos and nonchalantly prop them on baby grand pianos, on mantles beside the obligatory posed "whole family wearing white on a Cape Cod beach" shot as if Ivy and his wife were just that: family. This was overdose material.
Despite the increasingly claustrophobic conditions in the library, my party was running like a well-oiled machine. I flitted about the room making sure donors had drinks, staffers were strategically placed, and the senators were schmoozing with civilians and not one another. All I needed was for President Gray to arrive. Where, oh where, was my little Gray Two?
Genevieve caught my eye and motioned me to her side. She whispered her forgetfulness softly in my ear, "J'ai oublié son nom," knowing my childhood in New Orleans afforded her both the discretion and privilege of her native tongue.
I whispered back, "His name is William, William Sifkin."
Genevieve nodded and greeted Mr. Sifkin like a long-lost friend. I stepped back slightly and wedged myself awkwardly into a tight hallway between two open pocket doors, discreetly whispering names when requested and smiling, always smiling. I had no idea I was standing in the Presidential Hold.
In a shuffle so swift I had no time to yelp, Advance jostled me backwards and slid the pocket door in front of me entirely shut. I spun to find myself tit-to-tat with Gray Two, the pocket door behind him already closed. And tit-to-tat isn't easily done with me. Though petite in stature, I am, as Mom politely describes in mixed company, "generously endowed."
From the light spilling under the doors, I could see President Gray smiling his shocking white toothy grin. He snickered nervously through his veneers, as seemingly startled by our inadvertent "Seven Minutes in Heaven" as I was.
"How are you tonight, Mr. President?" I hoped my question might lessen the outrageously uncomfortable physical awkwardness of being pressed together like sardines. Neither of us could even lift our arms to shake hands.
The president continued snickering. "I'm fine, Miss Sachet. And how are you?"
"I'm fantastic, sir." Which was such a lie. Just because Secret Service had no qualms about stuffing me in a closet with the leader of the free world didn't mean I had the time to stand around chit-chatting with the man. Outside our spontaneously constructed confinement, there were donors needing appeasement, senators sniffing out dollars, staffers expecting supervision. Heavens to Betsy, Genevieve needed names! I tried my best to remain calm as my brain overflowed with potential emergencies. "I hope they let us out of here soon."
President Gray shrugged and the movement pulled my suit sleeves up over my wrists, where they stayed since I could not readjust them. He said, "Welcome to my life," and we fell into a long, strained silence.
Stuck. Minute One.
It struck me odd. The president was so not tall. Maybe, maybe he had two inches on me. Yes, I'd met him before, numerous times, but never this up close and personal. It was always a walk-and-talk, or a nod in passing, or an approach while seated, or a surrounded-by-staff situation. I'd spent more time with his uncle, Gray One, when I was a Ray of Hope. His uncle had been a tall man, impressive. This Gray had amazing, TV worthy, shellacked helmet hair but wow, was he a shorty. His height, or rather lack of it, made him seem much less . . . well, presidential. I thought better of commenting aloud and bit my tongue.
Stuck. Minute Two.
The rhythmic inhalations and exhalations of the president's breathing lulled me into a much-needed meditative state. In the year since I'd moved back to D.C., I hadn't had two solid minutes of nothingness. Ever. I was always on the run, in chauffeured cars, dashing from meeting to meeting, party to party, while simultaneously typing e-mails, returning voice mails, and multitasking in a haze of utter distraction. Two minutes of stillness? That meant I was either asleep or dead. I closed my eyes and allowed my breathing to deepen and enter into my lungs not as hurried huffs but as long, slow draws of life.
Stuck. Minute Three.
Old memories and long-suppressed emotions bubbled up from my core; a molten brew of fiery anger, disappointment, and confusion. This president had tricked and used people I adored. This president had lied to the entire country just to save his own hind end. This president had built his entire career on a long series of shady deals and broken promises. What in the world was I doing locked in a closet with this awful man?
Stuck. Minute Four.
I could not stand one more second of my forced confinement. I gritted my teeth to stop the questions rising in my heart from spilling straight out of my mouth: How did I let myself get so deeply embedded? Why was I raising $95 million for senators without a full understanding of their platforms? When had I stopped believing in candidates and started counting chairs? Worse than that, when did I stop caring whether politicians were actually good people? Everything had moved so fast. I'd gone with the flow of life, and life had taken me to the top of the Hill. My values, my integrity, my personal beliefs, I'd pushed them deep into a closet and now I was literally standing in that closet, face-to-face with the blue-suited, helmet-haired, white-toothed shorty that symbolized my self-betrayal.
How did I even get here?
http://www.npr.org/templates/story/story.php?storyId=94064968
Power, Politics — And Party Planning
http://www.npr.org/templates/story/story.php?storyId=94064968
Party Favors By Nicole Sexton and Susan Johnston
Hardcover, 256 Pages
The Lyons Press
List Price: $24.95
Read an excerpt.
NPR.org, August 29, 2008 · In an era when bookstores brim with memoirs, tell-alls and doorstopper biographies by politicos past and present, we still tend to think of the tart political novel as province of the Democrats. The Grand Old Party's tastes run strictly to Clancy-esque thrillers and mothballed war stories.
But we're in a bipartisan moment. If Nicole Sexton's Party Favors is any indication, the act of reaching across the aisle is spreading to the Barnes & Noble literature section.
Delightful works of political fiction, such as NPR host Scott Simon's Windy City and, of course, Joe Klein's seminal Primary Colors, traverse the minefield between a politician's public and private lives. Sexton, the former director of finance for the National Republican Senatorial Committee, illuminates a similar landscape. But, as befits a champion checkbook-wrangler and schmoozer, she and her co-author, playwright Susan Johnston, set a breezy how's-the-wife-and-kids tone that stops just short of handing the reader a cold drink.
Temple Sachet is a Southern belle on the deb track who gets pulled into politics after she organizes a run of local, record-breaking fundraisers. A devastating combo of brains, blondness and sheer will, she rockets, in just a few years, through county and state elections to rise to the position of second-most-powerful Republican fundraiser in the nation. "It took two gays and a bigot to put me there," Temple acidly remarks, "but apparently in the Republican Party, two parts homo-nepotism with just a splash of racist scandal equals a powerful new job."
Temple also blithely deconstructs other hypocrisies of her chosen trade, such as the strategic placement of donors into tiers ("Team Victory, Force GOP, the Patriots, and the Upper House. Each level had its own particular brand of fanaticism.") and the character-revealing cash-raking styles practiced by her colleagues ("Shark," "Professional," "Crash & Burner").
Had Sexton been a Democrat rather than a Republican at heart, Party Favors would have simply been an act of literary pandering. Still, her point isn't for right-wingers to fly the conservative coop. "I'm a good capitalist, I am," Temple tells us. "I spend. I earn. I love meeting people who came from nothing and now own half a city." Temple's quarrel isn't with the party's platform, but with its practices — how her colleagues skim 90 percent off the take, sexually harass interns and publicly scorn her gay mentors and colleagues, upon whom they all depend.
It's not about being Republican or Democrat. It's about not being greedy, ignorant or a hypocrite. "Why," Temple asks, "was I raising $95 million for senators without fully understanding their platforms?" In an election year, that's surely something we can all get behind.
Excerpt: 'Party Favors'
by Nicole Sexton and Susan Johnston
Party FavorsBy Nicole Sexton and Susan JohnstonHardcover, 256 PagesThe Lyons PressList Price: $24.95
NPR.org, August 28, 2008 · Prologue
Gray Two is So Not Tall
Everything about the dinner had to be absolutely 110 percent fantastic. First and foremost, I needed to look amazing, which I did, in my most conservative, but still va-va-va-voom, belted, black silk YSL suit accessorized with a stunningly bright turquoise Hermes scarf, since I'm Southern and able to pull off risky wardrobe choices with my colorful bursts of personality.
Second and even more important, my staff needed sharp eyes, fast hands, and tip-tip-tippy toes. Majority Leader Ivy's historic three-story brownstone was not only filled to the gills with one hundred of my top-tier Team Victory donors, it was also bursting at the seams with irreplaceable antiques curated by his refined, intelligent, and Parisian wife, Genevieve. I'd instructed my junior staffers to stay in service overdrive: "Donors will be drinking; sloppiness is bound to ensue. I need all eyes on the relics. Thank you." My pre-party pep talk had been taken to heart. The young ones were zipping around, unseen and unheard, effectively anticipating the accidental bumpings of Mrs. Ivy's precariously placed artifacts.
Third and most critical of all, I needed happy donors. A happy donor equaled cash money green. An unhappy donor equaled bye-bye Senate seat. These Team Victorys were my most privileged, most pampered, most jaded, and hardest to impress givers. They hadn't ponied up fifty grand per couple just to meet Majority Leader Ivy or his wife. Most already knew the six most powerful senators, those in Leadership, I'd secured specifically for the evening. They weren't even there to chat up President Gray or his grumpy, grumpy V.P. who cursed people under his breath and always showed up with a badly bonked head or sprained ankle. No, my Team Victorys weren't interested in handshaking. They paid to see the house.
Donors love themselves some houses. They will pay out their a-double-s to see if there's a hamper with dirty clothes, if the fridge is covered in family pictures. They will do everything in their power to sneak a glance at that marital bed. Nosy, nosy, nosy. Since taking the job that catapulted my career from little old me to Big Money Babe, I'd become D.C.'s version of Robin Leach, offering check-writers a glimpse of the Republican Senate's "champagne wishes and caviar dreams." For a hefty price, of course.
Big bucks meant big donors expected big parties to big-time rock-there'd better be A-list entertainment, free-flowing top-shelf booze, plentiful hors d'oeuvres plus a catered sit-down dinner, unfettered access to politicians, and there absolutely, no doubt about it, had to be a click line. Because clicks are donor crack.
Every donor, no matter the size of their wallet, wants a picture of themselves smiling with Someone Important. Even if they are Someone More Important and they already have fifteen identical pictures, they will stand in their cocktail dress or tux, waiting like an anxious kid braving a monster roller coaster.
The click line itself is just a cleaned-up carnie trick, a frenetic hurricane of pushing and smiling and shaking and flashing and clicking and pulling and pushing and smiling and go, go, go, go, go, go until every last donor has had their twelve seconds with a Hot Shot. It's ludicrous. Not the slightest bit glamorous. And yet, if I'd ever even suggested throwing a fundraiser in D.C. sans click line, I would have been run out of town as a heretic.
Which is why, in a house full of priceless museum treasures, I had one hundred donors and all my staff squeezed into the well-carpeted, less fragile, "books don't break when they fall" library. I'd vetoed the conventional, tacky blue velour pipe-and-drape backdrop and opted instead to put Majority Leader Ivy and Genevieve on a toe mark in front of their mahogany shelves filled with leather-bound tomes. My donors were beyond happy. They were click-crack wild, high from the unprecedented inner-sanctum access. Their clicks would appear more personal, more intimate, more real. They'd frame the photos and nonchalantly prop them on baby grand pianos, on mantles beside the obligatory posed "whole family wearing white on a Cape Cod beach" shot as if Ivy and his wife were just that: family. This was overdose material.
Despite the increasingly claustrophobic conditions in the library, my party was running like a well-oiled machine. I flitted about the room making sure donors had drinks, staffers were strategically placed, and the senators were schmoozing with civilians and not one another. All I needed was for President Gray to arrive. Where, oh where, was my little Gray Two?
Genevieve caught my eye and motioned me to her side. She whispered her forgetfulness softly in my ear, "J'ai oublié son nom," knowing my childhood in New Orleans afforded her both the discretion and privilege of her native tongue.
I whispered back, "His name is William, William Sifkin."
Genevieve nodded and greeted Mr. Sifkin like a long-lost friend. I stepped back slightly and wedged myself awkwardly into a tight hallway between two open pocket doors, discreetly whispering names when requested and smiling, always smiling. I had no idea I was standing in the Presidential Hold.
In a shuffle so swift I had no time to yelp, Advance jostled me backwards and slid the pocket door in front of me entirely shut. I spun to find myself tit-to-tat with Gray Two, the pocket door behind him already closed. And tit-to-tat isn't easily done with me. Though petite in stature, I am, as Mom politely describes in mixed company, "generously endowed."
From the light spilling under the doors, I could see President Gray smiling his shocking white toothy grin. He snickered nervously through his veneers, as seemingly startled by our inadvertent "Seven Minutes in Heaven" as I was.
"How are you tonight, Mr. President?" I hoped my question might lessen the outrageously uncomfortable physical awkwardness of being pressed together like sardines. Neither of us could even lift our arms to shake hands.
The president continued snickering. "I'm fine, Miss Sachet. And how are you?"
"I'm fantastic, sir." Which was such a lie. Just because Secret Service had no qualms about stuffing me in a closet with the leader of the free world didn't mean I had the time to stand around chit-chatting with the man. Outside our spontaneously constructed confinement, there were donors needing appeasement, senators sniffing out dollars, staffers expecting supervision. Heavens to Betsy, Genevieve needed names! I tried my best to remain calm as my brain overflowed with potential emergencies. "I hope they let us out of here soon."
President Gray shrugged and the movement pulled my suit sleeves up over my wrists, where they stayed since I could not readjust them. He said, "Welcome to my life," and we fell into a long, strained silence.
Stuck. Minute One.
It struck me odd. The president was so not tall. Maybe, maybe he had two inches on me. Yes, I'd met him before, numerous times, but never this up close and personal. It was always a walk-and-talk, or a nod in passing, or an approach while seated, or a surrounded-by-staff situation. I'd spent more time with his uncle, Gray One, when I was a Ray of Hope. His uncle had been a tall man, impressive. This Gray had amazing, TV worthy, shellacked helmet hair but wow, was he a shorty. His height, or rather lack of it, made him seem much less . . . well, presidential. I thought better of commenting aloud and bit my tongue.
Stuck. Minute Two.
The rhythmic inhalations and exhalations of the president's breathing lulled me into a much-needed meditative state. In the year since I'd moved back to D.C., I hadn't had two solid minutes of nothingness. Ever. I was always on the run, in chauffeured cars, dashing from meeting to meeting, party to party, while simultaneously typing e-mails, returning voice mails, and multitasking in a haze of utter distraction. Two minutes of stillness? That meant I was either asleep or dead. I closed my eyes and allowed my breathing to deepen and enter into my lungs not as hurried huffs but as long, slow draws of life.
Stuck. Minute Three.
Old memories and long-suppressed emotions bubbled up from my core; a molten brew of fiery anger, disappointment, and confusion. This president had tricked and used people I adored. This president had lied to the entire country just to save his own hind end. This president had built his entire career on a long series of shady deals and broken promises. What in the world was I doing locked in a closet with this awful man?
Stuck. Minute Four.
I could not stand one more second of my forced confinement. I gritted my teeth to stop the questions rising in my heart from spilling straight out of my mouth: How did I let myself get so deeply embedded? Why was I raising $95 million for senators without a full understanding of their platforms? When had I stopped believing in candidates and started counting chairs? Worse than that, when did I stop caring whether politicians were actually good people? Everything had moved so fast. I'd gone with the flow of life, and life had taken me to the top of the Hill. My values, my integrity, my personal beliefs, I'd pushed them deep into a closet and now I was literally standing in that closet, face-to-face with the blue-suited, helmet-haired, white-toothed shorty that symbolized my self-betrayal.
How did I even get here?
http://www.npr.org/templates/story/story.php?storyId=94064968
Subscribe to:
Posts (Atom)