 One, two, hello, hello, hello. Welcome everybody, please come right in. We're about to continue and start the new session. You're gonna be hearing some names being called and you're gonna come up on stage. You're gonna line up here actually first and then you're gonna come up and you got one minute. Lo siento, pero es así. Tienen un minuto, you have one minute to talk to us about who you are and what it is that you are doing, okay? Oh, y mi nombre es Alvan Colón Les Pierre, Alvan. And I'm really happy to be here. With MPN again, it's been many years, but this is a, oh wow, it's a very cool place. So, I'm going to have to sit down, put the mic on the holder because I gotta manipulate this and I only got bilateral symmetry. So, let's see. Okay, so these are the first five. Please line up right here. Ginsburg, Steve Rader, Ginsburg. That's what I said, okay. Steve, please line up. Joseph Hall, Jasmine Davis, Linda Paris Bailey. Oh, it's four. Rontherin Ratliff, okay? So, first one, up you come. Oh, and when your minute is about to be over, you're gonna have a sound cue that will slowly increase in volume until it's in, that's it, okay? Ready and go. Hey everyone, my name is Steve Rader Ginsburg and if you're writing anything down to get back in touch with me, I'm from the Autorino Center for the Arts, University of St. Joseph. I'm gonna talk to you about an artist named Samite Mulondo that's spelled S-A-M-I-T-E-M-U-L-O-N-D-O. Samite Mulondo is an artist I've been working with for a few years and we have a piece that's ready and touring next year. It's called Resilience. He is a Ugandan refugee that is a musician. Six months after he came here, he was discovered by Lady Smith Black Mombazo's manager when they were looking for somebody to open and they found him in a small little coffee shop and then he was touring with Lady Smith the year that their album with Paul Simon came out. And so since then, he's been just seven albums. He uses his music to go back to Africa, to refugee camps, and using music for healing and trauma work. So he has music as well as this theater piece called Resilience. So if you're looking for immigration and refugees, please get in touch with me with that. Thank you. Come right up. Hello, everyone. My name is Joseph Hall and I will be speaking on behalf of Juma Tatu Mpo and Dante Beacham as a co-commissioner at Bad Bronx Academy of Arts and Dance. This is a move. This is a deep spinal curve on top of a high booty. This is a game and the rhythm is key. This is luminous black and smooth brown and hard yellow skin tones. This is an alien and that is a fairy. This is a movement. We did not start it. This is a stomp through the floor and a buck across the universe. This is an invitation for you to amplify the respect, curiosity and love you find in our shared space. This is exquisitely normal. This is so queer, it's inside out. This is a show for the family with nudity and sexual themes. This is rigorous beauty. This is a formation. This is a formation is a project by choreographers Juma Tatu Mpo and Dante Beacham. They are using JSEP movement, which is from historically black colleges and universities by majorettes there. They have many NPN co-commissioners and they are looking for Mid-Atlantic partners for the Arts Connect grant. Thanks. I'm Linda Parris Bailey and some of you may know that I have been the Executive and Artistic Director of the Carpebag Theater for about 45 years. And I am moving on as our succession plan and so you may begin to see something called Paris Bailey Arts. And Paris Bailey Arts is in the process of developing Yankee Bayesian. I've been talking about it for a while. I'm looking for presenters and partners and but I'll just read the description. Yankee Bayesian, American Barbadian is the story of out migration, expatriation and immigration stimulated by the current state of affairs in the United States. In many communities across America, post-election families of color are reviewing their options, particularly those who are first and second generation Americans. So Yankee Bayesian is about a family that returns to Barbados where they've never lived, but their ancestral roots are there. It is a political satire and I'm looking for support. Thank you. Thank you. Hello everyone. I am Jasmine Davis from New Orleans, Louisiana. Hi everyone. How are you? I'm here promoting postcards from over the edge. It's a piece that has been brought together by community. We all got together and also wrote. It's made, wrote pieces. It's my first time, sorry. Wrote this piece on the crimes against nature law that is still being used in New Orleans to corrupt people's lives. It's mainly about commercial sex workers or survival sex workers made up in diverse, made up a plethora of people in the community, not only LGBTQ, but also the heterosexual community. Our cast is made up of all walks of life, all ages, demographics. And it's a piece that I'm here to promote and I'm gonna hopefully tell you more about it as we go along. Thank you. Thank you. Thank you. I'm gonna be calling up the next five, please. Rondell Crier, Maria de la Rosa, Leticia Bajuyo, Sean Dorsey, and Dan Lar Brathwaite. Good morning everyone. My name's Ron Theron Ratliff, also a sculptor living and working out in New Orleans. My name's Ron Theron Ratliff. I'm also a sculptor, artist working and living in New Orleans. I would like to share with you a piece that I'm doing for working with Newcombe Museum of Art of Tulane and an exhibition called Per Sister. And what it is is taking the stories of previously or currently incarcerated women and trying to share their stories in visual ways. And so I've been privileged with working with Bobby Jean Johnson, who was arrested at 19 and forced to confess to a crime she didn't commit and was given life. But through the Innocent Project, she was released and she allowed me to share her story. And that exhibition opens January 19th to July 6th in New Orleans, Newcombe Museum of Tulane. So good morning, my name's Rhonda Elcroy. I presented last year and I spoke about making investments in people as an artist. And since I went back and continued my work, I adopted Manifest and Equity as another sort of something that I should focus on as an artist. And what that looked like in real time is not just, I got myself out the studio. I realized that I can't just focus on just individuals I work with because I need to get resources from people who are empowered and have those resources. And most often we have to jump through hoops to get those resources. So I wanted to find out why are we jumping through hoops and decided to organize some workshops for foundation members in my community. So I invited them instead of them inviting me somewhere and a few colleagues of mine hosted three workshops for them to talk about what does it look like to make the decisions you make and are you thinking about the care and the community when you make those decisions and are you bringing your professional self to work or your personal self to work. So for me, I've shifted my focus to focus on that at the same time that I'm working with my community. I challenge all artists to think through how to embrace fear and do your work. Ay, solita y soledad, soledad que yo quisiera. La peternera is associated with a siren, a woman of bewitching voice that has lured sailors to their death. Now I got your attention, right? Las peterneras is a concert of music, dance, poetry, exploring the archetypes of women in Mexican roots tradition, primarily the Son Jarocho. I have the concert premiering in June of 2019 in collaboration with La Peña Cultural Center. I'm looking for other supporters, funding support. We have partial funding from the National Endowment from the Arts. I'm on the NPN roster as the artistic director of Diapason. My musical director is Patricio Hidalgo from Veracruz, Mexico. And one of our invited artists is Marta Gonzales from Los Angeles, the real peternera. And a cast of Bay Area artists that participate in our community, uphold our community, and participate in visionary considerations of artistic cultural traditions. Thank you. Hi, my name's Letitia Bajuyo. I'm a visual artist and I get to serve on the board for NPN. And I do wanna say a quick shout out to this woman over here who is dictating and to this woman over here who is signing. I just think it's amazing to have both of you and to bring your skills and to make sure that we are communicating and documenting this for all people who can be able to participate and understand and be able to be involved. So thank you for what you're doing. I am, when I'm not getting to serve on the board and do my duties there, I make visual art and I like to cheer on the things that we recognize as being maybe less than. So I'm always looking for an underdog to collect. My favorite collections that have been ongoing are CDs, unwanted CDs and DVDs. So you know you have some that no longer get listened to or you're embarrassed that you still have. So my collection continues. I have probably at this point about 40,000 CDs and DVDs in my collection that become my installations. The other thing I've started collecting is artificial grass. So I know that sounds weird, but I use it to make paintings out of. And so if you have, if you ever put turf down and you have leftovers, let me know. But my newest collection is Cutlerly. Like old like forks, spoons, knives, the things that we eat with that touch our mouths. That's something that we are very intimate with. There's few things in the world that we're that intimate with and I want your old ones that you don't use that end up in the back of the drawer. I want to make installations out of that. So help me out. Hello, my name is Sean Dorsey. My company is Sean Dorsey Dance. My new work is Boys in Trouble and I'm looking for presenters. If you want to see some of this work come to my APAP showcase at New York Live Art Sunday, January 6th. Boys in Trouble premiered this April in San Francisco and it's now on a 20 city international tour through 2021 with support from the NEA, NDP and NPN. Boys in Trouble is a timely and urgent and full bodied commentary on contemporary American masculinity. This work places a trans and queer lens onto intersectional questions of embodiment, violence, whiteness, black queer love and joy, audacity, shame and posturing. This is a 90 minute work for five dancers and travels with tons of community engagement activities. Two, I'm also looking for NDP and NPN commissioners from my new work. My new project is about imagination. At the very moment when America is bearing down on my community's bodies and voices and civil liberties, I want to give my communities the space to dream and think expansively about our future. So for the next two and a half years I'm hosting Dream Labs, Creative Spaces where I'm supporting communities to think and dance and write and create about what it is we most want in the dysfunctional states of America. Thank you. And I'm gonna call the next five please. Richard Newman, Rosa Nadai-Garmendia, Brita Joy Peterson, Shoshana Bass from Sandglass Theater, and Emily Marks. Hi, my name is Dalak Brathwaite. I am the writer, performer and composer of Tri-Step Trip. Tri-Step Trip is another look at my experience through the criminal justice system and a court order drug rehabilitation program. It is a collaboration with director Roberta Uno and we are a cast of six. We consider it a performance parable, a concept musical and a dance performance all in one. Step Dance is the primary choreographic language. It has been greatly supported by the Cal Arts Center for New Performance, won an NPN Creation Award, as well as a NIFA National Theater Project creation touring grand and has garnered development and production interest from Che Yu, artistic director of Victory Gardens in Chicago. We had a residency at ACT two weeks ago and upcoming script development residency at Victory Gardens in Chicago in January, after which we will assess its fit for Victory Gardens 2019-2020 season. In the meantime, we are considering options for touring the work through this network and beyond. Thanks to NIFA, we have the subsidies to do so. Please holla at Jonasado or I, if you are interested in a piece and having that good subsidy loving. Thank you so much. I'm Richard Newman, co-director of the Hinterlands and I wanna still keep talking to you about the enemy of my enemy, which is a long-term project we're doing. It's a series of collaborations with artists in China, Russia and Iran and other enemy nations of the United States government. These are internet-based and live-based performance collaborations. The work at this point has taken an iterative, it's of an iterative nature, so we had one iteration this past summer working at the Museum of Contemporary Art Detroit and the Mike Kelly Mobile Homestead doing a series of engagements in Detroit and conservative Detroit suburbs. Looking at issues of nationalism through performance and food. We'd love to do these kinds of engagements in other places. They can be super specific. So also, our next theater work that we're making is an adaptation of a Lost Roberto Bellagno novel. So I can talk to you a little bit more about that if you're interested in Bellagno or in Exiles or in Frozen Detectives or in Lost Literature. Good morning, everyone. My name is Rosa Naday-Garmendia. I am a visual artist. I live and work in Miami. I'm originally from Cuba and one of the reasons I live in Miami is so I can keep my feet sort of back and forth. I think that my work is informed by my experiences as a woman, an immigrant and an industrial worker. For the last four or five years, I've been working on a project focusing on documenting the lives of African-Americans that have been killed by police around the country. It begins with 1979 because of the murder of McDuffie in Miami, which caused the 1980 riots. And so this is a project that gives an opportunity to discuss the issue of police brutality, race, slavery, capitalism, and U.S. intervention abroad. I am looking to take the project elsewhere. I work with the Ask Provide Cultural Arts Incubator who's been very supportive of this project. And I'm looking to share this conversations with other artists and communities around the country. Thank you. Thank you. Yes, it is the runway. Hey y'all, my name is Brita Joy Peterson and I am a choreographer, director, and researcher based in Washington, D.C. I'm beginning a new work titled And Now or Hold Me, which is a project grounded in embodied perception and contemporary performance practice. The container for our experimentation is the colloquial concept of holding space. What it means, if it's real, who does it, how we do it, how it articulates with the sociocultural settings that we inhabit and move through, and how this impacts the self that we may be performing at any given moment. This is the third installment of my relational duet trilogy, the second of which is called Vinegar Spirits, and I'm showing next month at Dance Place, January 12th and 13th. If you're interested in how movement, text, sound, Whitney Houston, Pierre Bordeaux, subtle activism, emotional colonization, and RuPaul reveal the potential of a person whose space is held. Let's talk. We are looking for research and residency space, performance venues, and commissioning entities for the new work, as well as the full trilogy. Thanks. Thank you. Hi, I'm Shoshana Bass from Sandglass Theater, and I wanna talk, hey, thanks. I wanna talk about Babylon, which is our new work, which addresses issues of refugee and asylum seekers coming, resettling in the country and in communities that are welcoming, or maybe not welcoming, these new citizens. So we tour in a residency that has performance, it tours with seven people, and we do a number of workshops that were developed in collaboration with the Vermont Refugee Resettlement Program. We like to partner with UNHCR organizations, refugee resettlement organizations throughout the country to build the partnerships between the arts organization and the local chapters in your area. So if this is a topic in your community, we are really interested in talking with you about what a residency could look like. So please see me as a presenter, but also we have a new offer for work that has just received an NEA grant for a version of this performance for children. So if you're interested in commissioning something like that on the same topic, please let me know. Oh, and it's NTP funded for a travel subsidy. Thank you. And I'm gonna be calling up the next five, Sarabas Oppenheimer, Vincent Thomas, please go ahead, I'm sorry. Jamison Edgar, Barca Patel, and Hina Patel. Hi, I'm Emily Marks. I moved my company Lionheart Live Arts and Youth Theater newly in Memphis, Tennessee. I'm creating Unpacking Malibu Stacey as social practice immersive theater piece inspired by my favorite Simpsons episode, Lisa Simpson versus Malibu Stacey. Myself and a diverse team of artists will come in to your community and work with teenage girls to destroy 1,000 Barbie dolls and reconstruct them into women and girls that they admire during the residency. We'll discuss capitalism and child labor. Right now, children get paid $1.88 to make a Barbie doll that comes to the US. And we'll also talk about performance art and the residency will culminate in a live arts performance where the community will be able to come in and learn how to remake the dolls and also the girls will devise monologues, exploring identity and girlhood through this residency and the process of remaking dolls. Also, if you have work for young people, I want to present and bring you to Memphis. So please come talk to me. Efficiency. Wheel of Fortune. Say it with me. Wheel of Fortune. I've always wanted to say that in front of a crowd and now I wanna talk to you about a project I wanna do with a crowd in your community called 120 Project. I'm Sarah Beth Oppenheim. I'm an artist in residence at Dance Place in DC. And 120 Project is my social justice arts activism platform that uses dance, comics and dialogue to build community. I spent the last two years with citizen artists and activists across our country finding out what they're doing in response to the 2016 election and this divided nation. I just published a social justice comic book anthology to share their stories. I'm about to premiere a documentary film about the project and I'm researching or synthesizing the research in a new dance theater work premiering at Dance Place in 2020. But now I wanna come to you. I wanna find out what's important to your community and I wanna work with Dance and Comics workshops to build a new site work with your community members using movement, words and imagery to cross our divides. Find me. I have a one sheet with a menu of community engagement offerings and we can spin the wheel together. Thank you. I heard it through the grapevine that I ain't too proud to beg because mercy, mercy me, how sweet it is to be loved by you. So what's going on? An evening of music, great music, honest dance and provocative engagement with audience and community to look at life, love and social justice all through the musical lens of Marvin Gaye. The performance and community engagement activity center around celebrations in your community and concerns in your community and most of all, how do you turn those concerns into celebrations? The performance has nine company members and seven to nine dancers from your community. There are several community engaging activities for all ages and community partners, constituents and schools. By the way, Marvin Gaye was born in Washington DC. Support was from the NPN Creation Fund and Dance Place in Washington DC. The work premiered in 2016 and we've been touring since then. You can check with Myrna Loy, Contemporary Arts in Cincinnati and also for more information, please see me and talk with me. Thank you. Da de de de de ya de de de de de de de de de de de de da de de de de de de de de de da kat ta da kat ta da kat ta da kat ta da kat ta da kat ta da kat ta da kat ta. My name is Berka Patel and I'm an Indian classical gathak dancer and what you just heard is a small rhythmic pattern that comes from a solo practice that I do but I'm here to talk about my group practice. I am working on my first full length production called Mukta, A Woman Liberated. Mukta is a dance production depicting the internal journey of a naika, or woman. In modernity, negotiating and challenging traditions and normative gendered roles of patriarchal structures. Through Kathak, the performance resurrects a celebrated ideal of Hinduism, the woman, as a goddess, who holds the key to her powers to rise above all else. The goal of this performance is to empower mindsets, eliminate inside and outside voices that don't serve, while depicting the complex interiority of this struggle through Kathak dance. The performance culminates into the naika rising and transforming into a mukta, a woman liberated. This performance has seven dancers, and the music has been composed by a wonderful music, an Indian composer named Gaydar Pandit. I am looking for presenters for my first chance at doing this. Thank you so much, Burkha Patel. Thank you. Hi, everyone. My name is Jamison Edgar. I'm a painter, sculptor, an installation maker, and research artist based here in Pittsburgh. I am using my time here in Pittsburgh to explore markers of queerness that are attached to non-sexual elements of time, architecture, lineage, and history. I want to talk to you about two projects that I'm working on. One, I finished last April. It was a body of work I titled Per, which explored childhood queer desire through the lens of what I considered my first queer desire, which was to have a bedroom mural of a sunset in rural South. And then the second is a project I'm working on right now called Days In, which is an exploration of personal archiving and immersive installation making, trying to connect public queer gathering places in New York City and Pittsburgh and Atlanta, Georgia between 1970, 2018, night and day, sexual, non-sexual. So I'm looking for places to show this work outside of Pittsburgh and also performers and performance venues that want to kind of take on this and make it a more immersive installation space. Thanks. Thank you. I'm going to be calling the next names. Hien Huynh. Pardon my pronunciation, but I'm barely bilingual. Bob Martin, Lenora Lee, Meg Foley, and Aja Deer, and Chris Jacob. Hi, I'm Hiena Patel. I'm the founder of Mala Arts Connect, and I'm a cultural connector for South Asian performing arts. My work is about filling in the gaps to get more South Asian voices onto stages and into communities. NPN gets the award for the most number of thisies or South Asians at a conference for 2009, 18, with six people. Yes, we have literally that's the most number of South Asians I've seen at a conference this year. I do a lot of different things. I work with artists to help figure out how to work within the performing arts market, because there is a very vibrant South Asian performing arts space, but they don't know how to work in the PAC world, and I help to help make that reality. I also help artists produce their new work and also work with organizations to connect with South Asian communities to understand their needs and find out how to build partnerships and long-term relationships. So a little bit of everything, because honestly, that's what is needed, because 10 years ago when I entered the space, I looked around and I'm like, where are the thisies? And this needs to change. So if any of this is of interest, please come find me. Thank you. Thank you. I'm Hien Huyen. I'm Lenore Lee. So we both got chosen at the same time, and we're going to do a presentation together. We're representing Lenore Lee Dance, and we're looking for our presenting partners, co-commissioners, who are interested in presenting one or both of the following pieces, which we'd like to take on tour together. Moving Histories is a multimedia dance work inspired by experiences of women activists in Boston. And within these walls created last year, which is an immersive multimedia work originally created for the Angel Island Immigration Station and is dedicated to those who were detained, interrogated, and processed there. Within these walls is receiving a special achievement award for outstanding production by the Isadora Duncan Dance Awards Committee. And Hien is nominated for an outstanding achievement in performance by an individual for his incredibly moving performance in the piece. Our work integrates contemporary dance, film, music, and research on issues related to immigration, global conflict, and women's rights. We're also looking for New England presenting partners who will be applying with Pow Art Center in Boston to the NIFA Expeditions Touring Grant in February. We have one more minute. And have received the next expedition's planning grant for this Moving Histories piece inspired by women activists in Boston. Thank you. Good morning. My name is Bob Martin. And I'm with Clear Creek Creative in Disputanza, Kentucky, just outside of Berea. And I'm developing a solo performance work with director Nick Sly called EZell, Ballad of a Landman that explores white men in Appalachia, land-based trauma, domination behavior, and climate change. We're looking for collaborators, potential co-commissioners of the work. This will premiere next fall and explore and travel to different communities that we've been fortunate to work with in community-engaged theater throughout Appalachia. Accompanying this performance is an interactive community workshop called Dismantling Domination and Enabling Vulnerability and Resilience that I hope to discuss with folks as well. Thank you. Thank you. Hi, I'm Meg Foley, a Philly-based dance artist and educator. I'm looking for producers and presenting partners for The Undergird, which explores grief and intimacy as bodily experiences and where one body ends and another begins. As a queer artist and parent in a gender-expansive household, these are critical values for me. Using performer transformation as a medium, bridging the distance with the viewer and creating sacred space, challenging the form a dance takes and making space for personal loss and alternate futures. I use highly physical text and movement-based tasks to play with overlaid, diverging timelines to highlight memory as present, imagination as present, the future as present. The Undergird is two separate performance works as well as a long methodology of contemporary performance practice. The Quintet premiered in the 2018 Philly Fringe Festival, a solo version premiered in 2018 LAX Festival. There are people here who saw it, go talk to them, I guess. I don't know, maybe you'll find them. And then the long form methodology can be taught as a master class or intensive workshops with artists of all disciplines. Thank you so much. Thank you. Yes, I am, I'm sorry. My apologies. Dora Arreola, Sly. I have no name here, I just have the company organization name, Theater Simple. So, anybody from Theater Simple? Okay, thank you. Savannah Levin and even Spiegelman. Okay, good morning. I am Aja Salekistar Dyer and I am Chris Jacob. And we are ensemble members at A Host of People, a Detroit-based interdisciplinary theater company. Our newest original work is Cleopatra Boy, inspired by the life, history, and legacy of Cleopatra VII, Egypt's last female pharaoh. Her story has been told by a slew of Western writers, see Plutarch, Shakespeare, Shaw, through every medium you can imagine. But what's her true story? And how do these mostly male, mostly white, misrepresentations matter? Host of People wrestles with the way that we have been programmed to be led by white men since at least the dawn of the Roman Empire and the fall of Cleopatra's Egypt. Part pageant, part courtroom drama, part lavish spectacle, our audience will shape ship with the piece from spectators to community members to witnesses as we collectively address the injustice of losing control of our own narratives in order to rethink and remake history. We will be doing our world premiere of this piece in fall of 2019 in Detroit, Michigan, and we will also be doing a work in progress showing at Cleveland Public Theater as a part of their test flight in April. We're speaking more administrative and operational support and touring opportunities. Thank you. Thank you very much. Buenos dias. Mi nombre es Dora Areola. Soy director artística de la compañía Mujeres en Ritual, Danza Teatro, based in Tijuana, Mexico, and in Tampa. And my project is Telares o El Olvido, Looms or The Forgetting. In my dreams, my collaborator is Lila Downs, but she's very busy now and in reality, in this moment, my collaborators are women from the community of Tijuana, particularly members of my company, Mujeres en Ritual. This project will be completed in October in 2019. And what needs for the project is co-commissioners and development support. Telares o El Olvido looks at the relationship of migration and colonization and justice to language through dance, songs, and ritual. Any question? Thank you. I will be there with my cards and some more information for you related to this project. And as I told you, this is the end. Thank you. Thank you, Dora. Good morning. My name is Nick Sly. I'm the co-artistic director of Bondo Bizarro from New Orleans, Louisiana. And to tell you two things, we're releasing a documentary about our five-year project called Crye One. It's free. And if you want to connect with me about that, you can use it as a tool to talk about land and water and climate change in your community. We're also touring the Way at Midnight, which is a performance that imagines what would happen if the inherited legacies of our DNA were projected out into the world so they couldn't be hidden. That projection is done so by, and through Miwa Mitraic's very beautiful animations, punk band called Gentry Vacation and Two Old Men at the End of Life. It was commissioned by the CAC Seven Stages, Double Edge Theater, and Clear Creek Creative. And it is moving around the country right now, both as a dialogue and as a performance. So if you're interested in talks, especially the hard talks about inherited legacies, please, let's do it. All right, see y'all later. Thank you. I was the bad person who didn't put her name down. Oh. Guilty. I'm Lisa Holland, and I'm an artistic instigator with Theater Simple in Seattle. The Master and Margarita remix is a unique ensemble-based reconsideration of our award-winning wrestling match amongst the Bulgakov novel. Five actors, three screens, a trunk and a ghost light, in which the devil and his minions come to Moscow in 1932 to see if Stalinist politics have actually changed human nature. More things too, but later. Current events. We are breaking and remaking our old script to reflect these new times with a new ensemble with music composed by Brooklyn-based composer and cellist Brent Arnold. We opened in April in Seattle, co-produced by Theater of Jackson, and you are all invited. I mean, seriously. Later. Talk to me later. But we're looking for touring partners, co-conspirators, unusual spaces. I have stories about that. We are nimble, DIY, funny, and I'd love to talk to you later. Thank you. Hello, buddies and minds. My name is Evan Spiegelman, and I too am looking. Excuse me, looking for producing partners and presenters and touring opportunities for creep cuts an evening of genre queer cabaret by Ajit Props, a realist, miss asymmetric, and mixer in between. If you too are disappointed that the ancient art of drag has become another way to sell Rupal's shitty singles, try creep cuts, apply directly to the brain. If you embrace chaos as an anti-authoritarian strategy and believe that failure is a window to the new and not the end of the line, try creep cuts, apply directly to the brain. If you like messy queens, da-da-drag original electronic music and are overwhelmed by the world and want solidarity from two anti-fascist clowns who are also overwhelmed by literally everything, try creep cuts, apply directly to the brain. If you want to see this for free, come to the Myerlene Mayerson JCC on the Upper West Side of New York, home of the fightin' hell elephants on January 5th and 6th as part of APAP. So come ask your doctor about creep cuts, apply directly to the brain. Thank you. Okay, I'm gonna be calling the next ones, Rachel Karp, Philip Gates, Matt Reeves, Adil Monmarga Gomez. So you can line up, you don't have to come up the ramp, but if you do, you can do it. Ramps are funny because by code, for every inch they go up, there has to be 12 inches of extension. So that's why it's like that. Hi, my name is Savannah Levin. I'm a puppeteer, printmaker, visual, performance artist from New Orleans, Louisiana. A lot of New Orleans folks in the house. I work with a lot of collectives, but one of the collectives I'm working with, we just spent two months at the border of the U.S. and Mexico, traveling from El Paso to Tijuana and back, working in migrant and sanctuary spaces, performing in both Spanish and English shadow play I wrote about the birth of the moon. With the time that we spent at the border, we're now making an exhibition, an installation, and a performance piece, exploring the criminalization of migration, exploring the unchecked powers of the CBP and how LaMigra is a violent organization as it is now, and exploring the U.S. involvement with Latin America as a whole. We're looking for presenters around the country. We have a show coming up in New Orleans in the spring, and we just presented at our Basil of Miami. Thank you. Thank you. Give it up for Alvan, please. No. Sorry. Hi, I'm so, I feel so lucky. My name is Marga Gomez, or Marga, if you're flexible, and I've been doing solo performance mainly for about 25 years, and now I'm embarking on a collaboration with another storyteller, Daya Lakshmanarianan, who has worked with Moth and NPR Snap Judgment, and we are putting together a future tripping gender, whatever, political satire called Sheech and Shlong, just want to see it written up there, and of course it is a tribute to our favorite brown male comedy activist duo, Cheech and Chong. Think, Cheech and Chong meet Octavia Butler, and we're hoping to have our first public performance on April 20th. Sheech and Shlong are, begin in 2020, and they are single issue cannabis canvassers. They also have many issues. We are looking for a theremin player, and we are looking for creative collaborators. We are looking for presenters. MargaGomes.com is where you find me, or just around the coffee machine. Thank you. Thank you. My name is Rachel Karp, and I make work explicitly about politics and public policy, not unlike many of you. And one of my current projects looks at the politics of redistricting in our country, and specifically the manipulation of redistricting known as gerrymandering. The project is called Packing and Cracking, and it is a multimedia map making event that draws maps around audience members in real time to show how easy it is for politicians to choose their voters instead of voters choosing their politicians. And it makes use of a software called Mapditude, which is the software most often used in gerrymandering today. I'm working on the project with a media artist, and we are looking for development support. Money always, the software is not cheap. And also, space and time, workshops, residencies. We have a residency coming up with the Dramalee, but we'll need a lot more. And I'm also looking to talk to anyone who cares about or wants to know more about gerrymandering. It's something I care a lot about, thank you. Thank you. Hi there, my name's Phillip Gates. I'm an artist based here in Pittsburgh. I wanna talk to you briefly about Andy Warhol, who is from here in case you didn't know, and all the time that you don't have, please go to the Warhol Museum. It's amazing. So I've made a new performance piece that is collaged from Warhol's published text, film scripts and interviews. It's called AB Machines. It is a status competition between three performers involving wigs and mirrors and lots of lipstick and a lip sync battle and velvet underground songs. And it examines how the desire to be seen as beautiful, wealthy, powerful, well-liked, et cetera, affects how we relate to other people. I have come to find that Warhol's art is actually radically non-judgmental, which I think we need more of. And so AB Machines in that spirit is a challenge to political and cultural systems that feed on our desire to put ourselves above other people. So the piece is in resistance to that. Warhol wrote, sometimes I'd like to pull your wig off, but somehow I can't ever do it. I know how it would hurt you. The piece just premiered in Pittsburgh. It's ready to travel, super queer. So if you're a producer who would like to help us do that, present your curator, or if you just want to talk about Andy Warhol, please come find me. Thank you. Thank you. Hi folks, my name is Adil Mansour. I'm a theater artist here rooted in Pittsburgh. I'm currently adapting Sophoclese's Antigone as an apology to and from my mom. In Antigone, I see a revolutionary, anti-state feminist hero, and I also see a woman who prioritizes the afterlife over being alive. Since discovering my queerness, my mother has spent uncountable hours praying for my return to Islam and to avoid eternal damnation. At that same time, I've spent countless hours trying to understand that that is a form of her love for my queer, desi body. So in an attempt, a desperate attempt to connect and possibly heal, I'll partner with my mother as a dramaturg, and we'll read and reread Antigone. And as she's wanted to do with everything, she'll prescribe me Quran and Hadith to contextualize the text, and we'll create a new version, our own version, enveloped in the teachings of Islam and filtered through our conversations about morality, afterlife, and obligation. I'm wondering what I can learn through my mother's faith about how Antigone cares for her family, her state, and her God. And I'm excited to talk to anyone with questions or insights. Early in my process, I'm hungry for residency and research work. I'm grateful to you all. Thank you. Okay, before we continue, again, I don't have anybody's name, but dance place, Javon Collins, Anna Brickman, M.K. Abadu, and Jack Salman Curtis. Thank you for waiting, sorry. How do you prepare in 20 minutes to leave your home forever? What do you hold one last time? Hello, my name is Matthew Reeves. I'm a co-artistic director of Orange Grove Dance, a dance design and film company. Our current project, For Recurring Dreams, is a four-part performance series informed by mythopoetic research into the personal dreams and stories of one family's migration from Cuba in 1980. This project opens up dialogue on themes such as displacement, exodus, and transformation. The first two dreams of this project were featured at the Kennedy Center and Dance Place. Now as we depart into the creation of Dream 3, Children of Babel, set to premiere at Dance Place in 2020, we are seeking creative residency space, technological support, and presentation partners. This work will feature sophisticated sensor technology and a multilingual cast exploring movement informed by the cadence and poetry of each performer's language. Please come find me for brochures and more information. Again, my name's Matt Reeves. Thank you. Thank you. Hi, my name is Anna Brickman and I work for Practition Atlas. And this May, we are hosting the second annual Artist Campaign School in Chicago. This program is a series of all-expenses paid trainings to recruit, train, mentor artists and art administrators for elected office. So this is actually an ask for all of you if you have any interest in civic engagement or if you just wanna be more active in your community. We'd love to have you apply and we hope to see some of you guys there. Thank you. Thank you. Hello, I'm Sarah Greenbaum. I'm the Associate Curator at Dance Place in Washington, D.C. Dance Place has historically been an artist-led institution starting with Carla Perlow and that legacy continues with our relatively new Executive Artistic Director, Christopher K. Morgan. His company, yep, woo! His company, CKM&A, is one of our resident companies along with Revision Dance Company and Koyaba. But Dance Place has gone a step further in supporting local dance with our new program, Artists in Residence or Air. You already heard from Sarah Beth Oppenheim and her company, Hart Stuck-Bernie. And I wanna invite all of you to come see her show at Dance Place May 4th and 5th. We've also got Soul Defined here. You'll hear from them soon, hopefully. And definitely wanna encourage all of you to come out to their works in progress showing on April 18th. They'll be with us for two years and we wanna talk to you about their work. They're amazing. I also wanna shout out some other awesome D.C. artists we have here with us. We've got, let's see, Vincent Thomas, M.K. Abedu, Britta Joy Peterson and Orange Grove Dance. And they're amazing. D.C. art is awesome and thank you. Thank you. All right, good morning, everyone. I'm Javon Collins, Performing Arts Director at the Martin Luther King Jr. Performing Arts Complex in Columbus, Ohio, and proud board member here at NPN. Just wanted to point out two great people, early dean and amazing actor, and also Carlisle Brown in which he did our residency. So pick up the information. Carlisle's out of Minneapolis. Early's out of Florida, check him out. Basically, I'm just asking for partners of a partner. Just wanna make sure that everyone in our community, we're doing a community arts day and we're investing in our local artists. We're giving them our space to create and do whatever they'd like to do to put out the work that they need to get out. And then also, just partners of a partner to do, we're doing a Quadra Centennial. It's been 400 years of the African-American experience here in America. As you see, there's been a lot of things going on. So I'm looking for partners to do programs in your city to bring light, the plight, just to struggle that's been in the relationship of African-Americans and just America. So talk to me, let's see what we can do. As I say on here, on my tab on my thing right here, it says, you know, how can we help change the world today? And I believe that everyone in this room can do that. And I look forward to working with you all. Thank you all so much. Thank you. MK Abedu, I'm a choreographer based out of the Washington, DC area. Guided by the wisdom and experiences of black women, I make dances that disrupt the dehumanization of racism and invite shared vulnerability. In my work, LOX, which is evening length, iterative and intergenerational, I seek to immerse those who come to witness to participate in unraveling the question, what are the chains that have been woven into us? In its first iteration, my elder performance partner, Ms. Judith Bauer, who gave me permission to tell you that she is 84, braided 25 feet of hair into my head mid-performance, and then stood back to watch me wrap up in it and unravel and detangle our histories, particularly within communities of color that are traditions masquerading as coping mechanisms. I'm looking for partners who will co-vision how LOX welcomes folks into participating in outside of performance and inside this unbraiding so we can collectively practice how to get really clear about what's been done to us so we can undo it. I'm MK Abedu. You can find me at MKAbedu.com. I'm the only MK Abedu on the internet. I would love to share some breath with you in the community space or do a little kiki in the sweet, sweet. Thank you. Thank you. And I'm gonna read, if you don't mind, again, pardon my pronunciation, George Lukas, I would say. Asia Freeman from Bunnell Street Arts. No? Where are you? And George again. Sarah Bishop Stone. Michael Scamato. Myrna Packer. Okay, so we got four. I need one more. Okay. Okay. Go ahead, I'm sorry. Hello, my name is Jade Solomon Curtis, a 2018 recipient of the New England Foundation for the Arts NDP Award. For my work as the choreographer, dance artist and visionary behind Black Like Me and exploration of the word nigger. A multi-sensory and scalable work that uses five solo narratives to explore the reverb of one word in a global community. It asks if it is possible to redefine a word that was intended to belittle a people. My team, artistic manager Gail Boyd and booking agent Jennifer Morris and I are currently seeking presenters in traditional and non-traditional spaces including museums to tour this work. The NDP funding is available for engagement, taking place January, I'm sorry, July 1st, 2019 through June 30th, 2020. While in the early stages for the creative process for Black Like Me, I experienced a deep paralyzing sadness. Out of it, sorry. Out of it came a keeper of sadness, my current work in progress that aims to give voice to the pain that lays dormant in the bellies of so many Black women ignored throughout history, often self-suffocated as a means of survival. In addition to my residency with Thomas de Francis Slippage Labs at Duke University in March 2019, my team and I are also seeking additional residencies to continue to manifest this work. Thank you. Thank you. When Emily was a little girl, her UPIC Eskimo grandmother told her that her blue eyes came from the King Salmon. My name is Asia Freeman, and I'm from Benel Arts in Alaska. And if you're interested in decolonizing works, multidisciplinary works, works that elevate indigeneity, imagination, and invention, I invite you to join me in co-commissioning and presenting Being Future Beings, a new piece by Emily Johnson, an award-winning, Bessie award-winning choreographer, Adora Stuck-Arts award-winner, Guggenheim fellow originally from Alaska of UPIC descent, now based in New York City. Her new piece, Being Future Beings, examines the ways, the stories we tell ourselves and how we, the stories we tell ourselves about how we came to be, set the potentials for who we'll become. Thank you. Thank you. Hello, my name is George Lug, and in addition to getting to work with the incredible team at Kelly Strayhorn, I am also working with independent artists as well, and I wanna share some information about a new project by Faye Driscoll that will be premiering this April at Peak Performances. It is co-commissioned by the Walker Art Center, the Wexner Art Center and Peak Performances, and it's the final in her trilogy, Thank You for Coming. Thank You for Coming has been examining what the collective experience in performance is and how it can be a way to examine how we co-create our world. Space strips away the performers, leaves Faye vulnerable and alone in a co-authored work with a community of audience, creating, accumulating sensory and social interactions within either a theatrical space or an exhibition space. So we're happy to have more co-commissioners. We're also looking for presenters for this work, which will premiere in April and then be touring, and also curators. It will have a two-week installation version at the Walker Art Center in 2020, and so we wanna advance this dialogue and certainly curatorial perspectives on Faye's work. Thank you very much. Thank you. Good morning. I'm Sarah Bishop-Stone and I am here on behalf of Jamil Ilawale Kosoko, who is around, but not in this room at the moment. I am the US tour manager for his project, Chameleon, which has an upcoming premiere at New York Live Arts in the spring of 2020. There will be a showing this January 4th, or January 5th, excuse me, at 2 p.m. at New York Live Arts if you're gonna be in January. Chameleon, excuse me, is a multi-tiered, multimedia performance project by Jamil Kosoko that examines the shapeshifting, illegible, and fugitive realities of Black diasporan people within the American context. It currently, we are looking for co-commissioners. We are looking for production residency. Then we are looking for tour sites and venues beyond the premiere. We're particularly interested in talking to hybrid visual and performance art spaces as this piece has an installation element. So find me or Jamil this weekend. Thank you. Morning, Michael Sakamoto, buttoe hip-hop artist, George Slash Michael, pronounced without the slash working title. So it's me and George D'Alepena, a former ABT dancer and Broadway performer, ballet and buttoe, Nijinsky and Hijikata. It's a theater piece exploring spectacular entertainment, avant-garde, and concert dance bodies, male bodies, trying to figure out who and what they are, are not, should be, should not be, shouldn't even be around in the Me Too era. Internalized patriarchy, what do we do with ourselves? Looking for commissioning and presenting partners. Also, Blind Spot, which I'll be doing an excerpt from on Sunday in an art burst. Thank you to the numerous MPN partners here who've helped incubate the work. It's ready for touring, full-length, intermediate solo and collaboration with Stanford-based digital composer, Christopher Jetty, exploring corporate militarism, intellectual property, issues in our bodies, post-war Asian-Americans, decolonizing themselves and prints. Thank you. Michael Sakamoto.org. I'm Myrna Packer, co-artistic director of Bridgeman Packer Dance in New York with my partner, Art Bridgeman. Over the last 15 years, we've been developing what we call video partnering, which is the integration of our live performance with video technology, with the video becoming a metaphor for thoughts and memories and myths and alter egos. We're currently creating a new work entitled Table Bed Mirror, which looks at the neuroscience of dreams while going through many absurdist scenarios. We're also excited to take our work out of the theater with our ongoing project, Truck, which is performed inside of a 17-foot box truck and can be performed anywhere where a truck can be parked. And it's allowed us to bring performance to many different locations and populations, both rural and urban. And lastly, we're collaborating with cinematographer, Gavin Proust, creating films, filmed entirely with drone cameras, using drones for something positive and creative. If you're interested in our doing-such film at your site, let us know. I have video clips of all of these projects and also ask me about our video playground, which is an interactive installation for the audience. Thank you. Thank you. Janet Wong, Sarah Greenbaum, Robin Anderson, Christopher Norman, Mark Pinate, too. Hi, everyone. I'm Janet Wong, New York Live Arts. The project is Wednesday and the artist is Roger Feather Kelly. It's a new dance theater work to premiere at the end of 2020. The work is based on a reinterpretation of a 1975 movie by Sidney Lumet, Dark Day Afternoon. And it was based on a real-life bank robbery. The bank robber was an inexperienced amateur and gay wannabe criminal who was trying to get money for his partner's sex change. So Roger will flip the point of view from the perspective of the bank robber that was played by Al Pacino to the perspective of the trans character, his partner, who had about a minute and a half of screen time in the movie. So you can imagine that, right? So I'm looking for co-commissioners, co-presenters. So please find me. Thank you very much. Thank you. Hello, everyone. My name's Robin Anderson and I'm with Access Dance Company in Oakland, California. We're a 31-year-old physically integrated dance company driven to change the face of dance and disability through artistry, engagement, and advocacy. And you may have seen us perform at last year's NPN conference. Today I'm pitching our largest project to date with the commission of UK dance theater artist, Arthur Pitta, who is making a work about Bay Area homelessness through the lens of Alice in Wonderland. And it will be titled Alice in Oakland. It is sure to be a visual feast of dance theater interlaced with storytelling and striking imagery with an original set designed by Jan Sibra that will push and challenge Access's just our company to a new territory. The work is being co-presented by ZSpace in San Francisco and will premiere October 25th, 2019. We are looking for mid-Atlantic partners, co-commissioners, tour destinations. We already have some in November and March. I look forward to talking to you. Thank you. Thank you. Hello, I'm Mark David Pinate from Borderlands Theater in Tucson, currently working on another adaptation of Antigone, a gun battle between Border Patrol and cartel smugglers on the outskirts of the southern Arizona city of Thebes. At least one agent and several cartel members dead with the new Border Patrol sector chief, Creon Cardenas Bands, the removal of the cartel members corpses. His niece, Antigone, a DACA recipient, livestreams a video of the atrocity playing out the age-old conflict between the rule of law and human decency. With a course of media pundits commentating on multiple projection screens, Antigone in the Border is a contemporary multimedia adaptation that looks at our current immigration crisis through the lens of one of civilization's oldest conundrums. Adapted by myself in collaboration with Teatro Bravo of Phoenix, University of Arizona Classics Department, and Aliento and Immigrant Rights non-profit serving dreamers and their families. Thank you. I'm Aaron Cooper with the International Sonoran Desert Alliance. We're commissioning the work and looking for co-commissioners for creation fund proposal. Thank you. Thank you very much. Go ahead. All right. Please, and I'll call the names later. Okay. Go. If you can hear my voice clap once. If you can hear my voice clap twice. Now that your phones are down. Good morning. My name is Ryan Johnson. I'm Quinn Johnson. And no relation outside of the fact that we created a really cool percussive dance company that is an artist in residence at Dance Place. And what we do is we use tap dance, stepping, sand dance, body percussion, digital media, all to original score by Tamar Green from the cast of Hamilton in the evening lift performance addressing social injustice that directly affect people of color taking you guys on a rhythmic roller coaster. We also provide an arts integrated program that connects stepping with math, tap with literacy. We have an in school performance called the remix and we do residencies that teach the elements of percussive dance while building multiple multidisciplinary work to empower youth. Now, if this resonates in your soul, we are looking for performance opportunities, presenting partners, residencies, funding and to just drink. So we have these really cool postcards that have information on it but then we have slap bracelets. Remember those? Return them into jump drives and on them you have our EPK, you have footage, you have our teacher's guide and more. We perform all over the country but more importantly, we wanna be in communities and we wanna have a direct impact and try to shift the trajectory of young people's lives. So let's drink shots. Anyone? Thank you. People have called me a lot of things but I had to double check that Christopher Norman was me. I am actually Christopher Morgan. My apologies. No worries, I just had to make sure, yo. Aloha, y'all. So I continued a tour of my NPN creation-funded work from a few years ago, Pohaku. I'll be showcasing it at APAP on January 6th twice so if you come out for that, please check it out but I also have a new work in development and I'm looking for commissioners because as you have heard, I'm the executive artistic director of Dance Place which then very rightfully behooves me to have more commissioners to apply for things because I can't really use Dance Place anymore. So friends that keep asking me how are you continuing to make art? It's actually a greater challenge now. I have to do twice the work. So if we really wanna step it up and support artist leadership, this is really truly one of the ways that it needs to happen. Native intelligence and Nate intelligence is looking at the intersectionality that I embody as a native and Western person. How do I navigate cultural appropriation while trying to appropriately share my cultures? That's me, check me out. Thank you. Okay, we're gonna continue and I just wanna share something really interesting about community theater. Ticket, orchestra ticket for the Broadway production of To Kill a Mockingbird costs $2,300. So talk about a community that they address. Jess Curtis, Janira Solomon and George Lug, Rachel Scandin, Indy Mitchell and Bonnie Gabel and Kiyoko McCann. McCray, where are you guys? Oh. Hi, I'm Jess Curtis from Jess Curtis Gravity based in San Francisco and Berlin. I'm, my new project is called Invisible. Oh no, go away, sorry. It's a project with six blind and sighted performers from the US, Germany and France creating a work that attempts to destabilize and dislocate vision as the primary mode of transmission in dance, body-based performance and live art. Working with concepts emanating from evolving access practices such as audio descriptions, stealth access and non-traditional presentational strategies. We're collaborating with American Blind Author and Access Expert Georgina Klieg, blind art critic and Berlin blind art critic, photographer Gerald Pirner and philosopher of perception Alvin Noe as well as composer and expat American composer Sam Hertz. The work supported by Lighthouse for the Blind in San Francisco, the MAP Fund, the NEA SF Arts Commission, the Berlin Culture Strat and the German Funds, Darstel and Dekunste. We just finished our first initial research residency at Counterpulse in San Francisco and it'll be premiering in Berlin in July and in October in California and we're looking for a co-presentation partners and commissioners and I'd love to talk to you more about it. Thank you. Thank you. Hi everybody, good morning. Afternoon. I'm Jenara Solomon from Kelly Strayhorn Theater with my gay, thank you. Hi. And George. And George Lugge, executive producer at Kelly Strayhorn Theater. Yeah. So in response to cultural displacement that's occurred in our neighborhood, three years ago at a Kelly Strayhorn Theater created a program called Penn Avenue Creative, Penn Avenue's the avenue that we're based on and it's evolved over the three years and we're now in sort of a third, it had two components, a longer range, more extensive deep dive incubator program for artists entrepreneurs modeled after the kind of creative technology sector, accelerator, incubator structure and now we've evolved it into a kind of a shorter but still pretty intense professional development, coaching, support, access to capital program called Future Makers. So the program right now we're about to launch the next round and we're seeking in from our community artists, activists, social entrepreneurs who have ideas that can transform our neighborhood and create the new models of support for economic activity and a transforming neighborhood. Thank you. Thank you. I'm Rachel Scanling, I'm managing director and producer with Los Angeles Performance Practice, newly there. I have two projects so I'll go quickly both from LA-based artists. Milka Georgevich is a choreographer in Los Angeles based there, her new developing project is Core. New York Live Arts is our lead MPN partner and this project is supported with residencies at Nancy as well as New York Live Arts. It will premiere in 2020. It's a work that examines labor and the feminine body through the lens of regimented movement reveals similarities across traditional militaristic ritual, athletic and folk movement forms. It's an evening length work for six dancers and Georgevich really examines how individualism becomes suppressed. The goal is to reveal cyclical feminine labor of regimented movement forms and the impossibility of replication and perfection while illuminating and innate resistance to erasure. The second project, oh and we're looking for commissioning partners and residencies for development in 2019. Our second project is with theater maker Marika Splint on the other side. Skirball Cultural Center is our lead MPN partner. This project is an ensemble developed theater project that thinks about and examines borders while questioning and challenging our growing tendency for independent and inherent level borders. Thank you. Thank you. Hi, I'm Keo Kumakre. I'm the director and producer of a new piece, Breaking the Thermometer to Hide the Fever. It is a multidisciplinary theater piece that is inspired by the legacy of Radio Haiti Inter. Haiti's first privately owned Creole-speaking radio station which closed in 2000 following John Dominique's assassination who was featured in Jonathan Demme's documentary, The Agronomist. It is being developed with and features Layla McKella who's a Haitian American musician. She and I are based in New Orleans. Her 2013 debut album was named Album of the Year by London Sunday Times and Songlines Magazine. It is being commissioned by Duke Performances and is scheduled to premiere in February and March 2020. We had our first residency at the Contemporary Arts Center in New Orleans. Thank you, CAC, in October and we're about halfway through our development process. We're looking for NPN co-commissioners and presenters to begin touring in 2020. And the piece is really also about Layla's childhood stories and how we hold onto culture in the face of displacement and exile. Thank you. Go right ahead. Good morning. My name is Indy Mitchell. And I'm Bonnie Gable. We are the co-directors of Last Call. Last Call is a collective of artists, activists and archivists collectively interpreting and interrogating queer history in New Orleans and nationally. Great, so we made our first point of inquiry was around the disappearing type bars in New Orleans and we made this really lovely show called Allegiant Lesbian Activities which is currently ready to tour. Yeah, so we're looking to tour to places where we can research like we did in New Orleans, the history of lesbian bars. There are hardly any left in the country and we like to research what they were like in your communities. So we're interested in connecting with presenters, commissioners also with other artists who are touring and non-traditional models. We also have NTP subsidy. Yeah, and we have a creation fund. We were a co-commissioned by the Theater Offensive, Mondo Bizarro, Clear Creek Creative and we have a map fund as well. We have these little books. If you wanna know more about it, we can give you one. And we will be premiering the work in Boston on the first weekend of April. Yeah, so come out. Thank you. Leilani Chan, Andrea Asaf, Andresia Mosley, Christina Wong, and Charles Anderson. Aloha, aloha, try this with me. Clap, clap, waterfall, ready? One, two, three. Cool, huh? I learned that from an incredible teaching artist and programmer, Auntie John, from the Samoan Community Development Center in San Francisco. And I had the great opportunity of taking my new ensemble work, Masters of the Current to Brava Center for the Arts to present it and reach out to the Pacific Islander and Micronesian communities in San Francisco, as well as to present in the mission, which was an incredible experience. And I just wanna say thank you, NPN. Creation Fund two years ago, I got up and presented this idea to this room and cried and I was so embarrassed. And my co-commissioners came to me and said, hey, we wanna support you. And I was just, I'm just so thrilled and proud of this work. We were at the Maui Arts and Cultural Center already? Oh my God. We were at the Maui Arts and Cultural Center and now we're touring to Pangea. So talk to me about the work. Mahalo. Hi everybody, I'm Christina Wong in Los Angeles. I have a crazy story. I put out a web series called Radical Cram School and Alex Jones and Infowars, the right-wing conspiracy theorist. He blew it up on a show and then I got all these death threats and rape threats from his following. And I was so upset. I went to my neighbor's house. She made me something to eat. It was an edible. And then when I woke up from her couch, I had somehow agreed to run for a Democratic delegate in Assembly District 53. So I'm running for her office. And basically, this is an extension of a performance piece that I propose that now is like a real life performance piece slash a thing called Christina Wong for public office. I am not qualified, like really, but anyway, I'm looking for bribers, IE commissioners, I'm looking for voters. I'm looking for people. But basically, these campaigns are like performances where I like deconstruct and do like really meta things with performance and you know, whatever, performance language. You love this performance language and then like take communities and it's like the whole deconstruction. I want to do a big extravaganza 2020 before the next presidential election and as a way to engage civic participation and engage history about voting. So give me your vote. Christina Wong for public office. Hi everybody, I'm Andrea Saf. I'm with Art to Action, Inc. in Tampa, Florida and I'm a theater artist, performer, director and playwright. And I am looking for co-commissioners for a new play that I am writing. And I've been talking about this for a while, y'all. I'm actually really serious now about getting this launched and I'm looking for folks to invest in this idea. It is called Drone. On one level it's a play, a story about a U.S. drone pilot who gets a job, a U.S. pilot who gets a job flying drones and what it does to him. Nick Sly will play the pilot, which is awesome. And on another level it's a multimedia transdisciplinary performance using image mapping and drone technology in the design and also exploring the aesthetic of drone, the drone in music and movement from traditions from Appalachia to Pakistan and how droning can link and traverse global locations to create a sonic landscape and invite experience and militarization. It's asking what is contemporary tragedy in the 21st century? How do we stage it? And are we becoming a nation of drones? Thank you. All right, I don't know if it's good morning, good afternoon or good evening at this point. A little sleepy little tie. Hi everyone, my name is Andrea Siamosli. I am a poet, actress, national touring actress, did a lot of plays and now I am a new playwright with a project called Five Black Women. It's a one woman show. Thank you, NPN, it got the creation fund. It is now commissioned by Art to Action and also ASU Gammage. It had its first work in progress showing in partnership with ASU Gammage as a resident there in September. We got rave reviews. What is about Five Black Women? What happens with identity, sexuality, your mind? What's going on right now? I call it the club, the hood, the church, you name it. It's really interesting and what I'm looking for this time is actually touring sites and presenters. The show will have several work in progress showings in Tampa, Florida and abroad in 2019. We're looking forward to premiering it with Art to Action and ASU Gammage in 2020 and in 2021, we want to be where you are. So if you're interested, give me a holler. Oh, Art Slam, Saturday morning. You can actually see clips from the work in progress. Hannah Bates from Seven Stages. Manly Howard, Hady Howard. Greg Manly, Lois Weaver, Sharon Williams and Lot Ramirez. Let's go. My name is Charles Anderson. I'm here as the artistic director of Dance Theater X and also the head of the dance program at the University of Texas at Austin. First talking about my NDP funded and NPN supported project Recurrent Unrest which is set to premiere in fall of 2019 with 651 Arts. Seeking, presenting and touring partners, particularly those that have partnerships of universities, the work is an immersive evening lens performance installation built upon the Sonnet Foundation of Steve Reich's three earliest works. It's an intergenerational open letter from my ancestors to my descendants. Basically, given the message, stay woke. It has received a lot of funding and if you really need to see it, you can come down to Mansi. We have a performance residency in April. I'm gonna stop talking about that. I'm also here as the head of the dance program at the University of Texas at Austin to talk about an MFA in Dance and Social Justice that I just created. It's two year fully funded one summer program. Thanks. It's specifically designed for those who are practicing forums outside of the Western Canon or those practicing within the Western Canon with the intention of disrupting it. Thanks. Thank you. Hi everyone, my name is Hannah Bates. I'm the executive director of Flamenco Vivo Carlotta Santana. We're based in New York. We have a great project coming up with an artist named Jose Maldonado from Madrid. And as an artist, Jose really looks to explore kind of the tension of what it means to be a 2018 body working within an extremely old and culturally specific art form like Flamenco. So his new work, Un Paso Adentro, working title, will be an evening length work that will start rehearsals in fall of 2019 and spring of 2020 and then look to go on tour after that. So the work is really an exploration of boundaries, literal and figurative, and what it means to have an inner world coming into conflict and intersection with the outer world. Literal boundaries, the movement of people across borders and across spaces and how we connect using a really dynamic art form like Flamenco to explore how those boundaries are real or not and how we intersect with them. So we're looking for space for creative and research residency fall of 2019, spring of 2020 and then eventually touring. So we'd love to talk more. Thank you. Thank you. Hi, my name is Greg Manley. I live here in Pittsburgh. I'm a carnival artist, but I want to talk about my very first professional project which 12 years ago I invented a team sport called Circle Rules Football and it's grown around the world. We've had two World Cup so far and in 2020 on the summer solstice we're bringing it to the United States of America and I'm looking to all of you to help me in grand subversion tell the story of what sports could be because sports are theater and there's a type of theater. So I'm looking for a whoop ass dramaturg. I'm looking for development. I'm looking for international ambassadors. I'm looking for artists of really bombastic subversion and I'm always looking for players. That's it. Wow. Hi, hi, I'm Heidi Howard. I'm the Artistic Director at Seven Stages Theater in Atlanta, Georgia and we are in our 40th season. I'm here to talk to you about my pop-up performances throughout the year called Human Citizens Encounter. Thanks to the NEA Big Read program we were given money to buy books and I chose Claudia Rankine's Citizen, an American lyric and what we're doing is inspiring creative responses to the book. It's a powerful piece with essay, poetry and image and a meditation on race and what I'm doing is connecting professional artists to citizens around Atlanta and I'm here to take it globally and so I wanna talk to you about your ideas of citizenship and how we can really connect across our differences and have creative responses and I have a huge culminating event in May and I invite you all to it. It's free, it's food, it's conversation and connection. Thank you. Thank you. Hi, I'm Lois Weaver. I share a body with a character called Tammy Why Not. Tammy likes to say that she was a famous country Western singer who gave it all up to become a famous lesbian performance artist and now she's trying to become a famous YouTube sensation. So of course in light of that she started her own YouTube channel which is called Tammy Why Not My Channel and even though both Tammy and I are committed to intergenerationality and we think that our survival depends on it this is a YouTube channel that's dedicated to the over 50s. So what we're looking for are some elder remote collaborators that is elders in your community who might want to create some material that we will then post on Tammy's channel because our overall goal is to create digital inclusion for the older population so that we might have a digital support system when we need it as we grow older and older and older which I hope we do. So I've got some cards that have the address for Tammy Why Not My Channel and they'll be out there, thank you. Thank you. What's good, my name is Sharon Nari Williams. I'm an executive director for the Central District Forum for Arts and Ideas. We present Black multidisciplinary work for 20 years, deuces, 20 years in Seattle. Come on now, y'all think we don't have a Black community but we're there. I am talking about the Bag Lady Manifesta and Immersive Installation and Participatory Performance piece. We brought Ms. Taja Linnley to Seattle in May. It is directed with Tanisha Christie. It is in a world that treats Black life as if it's disposable. The Black Lady is an urgent reckoning and revelation. She is the accumulation of discarded lives and abandoned histories wreaking havoc on the amnesia, the fear of forgetting the erasure and the silencing remembering is the responsibility of the living. Are you doing your work because an unacknowledged history produces ghosts? She is an awesome woman to work with. It only travels with two people. You should hit her up. And FYI in 2019, CD4 will be producing Randy Ford's unapologetically queer show, Queen Street. Thank you. Go ahead. Hi, my name is Kat Ramirez. I am a Philadelphia-based theater director and maker. I'm working with lead artists Clarice Park and Ajanea Carter as well as a creative team of really awesome makers and activists on a piece called the DJZ, a live role-playing game and immersive theater experience where you walk into a room, are given a new identity and must navigate a dystopian DMV-like government organization where you must work to change or maintain your social stereotype. And after a series of mysterious events and insurgencies work together to overthrow the government. This work we're trying to make to give people tangible tools for collective liberation. We've had two workshop performances in August and November in Philadelphia and are looking for residency opportunities, development opportunities and commissions, as well as mentors, because I'm a young artist and I'm still trying to learn how this works. Shout out to everybody who's dealing and breathing through their impositions from right now because I'm really, really inspired by everyone. Thank you. Okay. I don't have a person's name. I just have, available for presentation, Pangea. So, who from Pangea? Okay. Taco truck theater, that's Jose. Jorge Rojas. Hands up, don't shoot, that's Jorge. Herman Pearl and Lionel Popkin. We're almost there. Yes, please. Oh, my apologies. Hi there, my name is Pratik Motwani. I'm originally from Mumbai, India. I'm an actor, theater maker and theater educator. I live in Blue Lake, California now and I'm looking for presenters for my show Embedded. Embedded is a multimedia piece of device theater that examines the condition of a trapped virtual identity through the lens of a YouTube cyber celebrity stuck within the regulating algorithms of a social media platform inside of broadcasting room floating somewhere in the interwebs of cyberspace and time. An introspection on notions of identity and image, reality and perception, our need for real connection coupled with our inability to disconnect ourselves from the virtual world. A revolt against all identities that trap us of race, of color, of gender, of nationality that we build or are systematically imposed upon us that regulate, exclude, separate, divide us from real connection and access to each other. The show has been performed at the consortium of Asian American Theater Alliance, National Asian American Theater Festival in Chicago. Banjia World Theater is interested in presenting the show. I'm looking for other presenters from the NPA network who would be interested in presenting the show. Thank you. Thank you. I was good to see you. Okay, gente, ningún ser humano es ilegal. Ningun ser humano es ilegal. No human being is illegal. No human being is illegal. And the NPN crowd says no human being is illegal. No human being is illegal. No human being is illegal. Respect my existence or expect my resistance. I got no patience now for people without consciousness. The Taco Truck Theater Ensemble is a radical outdoor dinner theater project that's touring across the country. Banjia World Theater presented in May. Ask Mina and Deepanker. We kicked ass because that's what we do. It's a black and brown ensemble. We explore the dehumanization of human beings because no human being is illegal. Of immigrants as illegal aliens. In addition, we align with Black Lives Matter and explore the ubiquitous shootings of unknown black people by white police. It's provocative, it's political, it's funny. And our motto is no guacamole for immigrant haters. And I've got t-shirts that we sell by catamales across the country. We're touring. The NPR program reveal is gonna be doing a video on us soon in January. Gracias. Thank you. Thank you. We're looking for touring. Hi, I'm Herman Pearl from Stacey Pearl Dance Project and Pearl Arts. We're here to talk about SIM. SIM is a lush and layered movement, sound and light-based work inspired by Octavia Butler's final novel, Fledgling. Explores themes of vampirism, symbiosis, gender identity, and race. The work is malleable and adaptable to special qualities of various venues, locations, and institutions. The work is set choreography by Stacey Pearl. Give it up. Utilizing as many as six dancers and presently performed as a trio. The soundscape is a graphically notated, improvised score performed by myself and principal sound artist, collaborator Sadie Powers and Bonnie Jones. Visual artist Barbara Weisberger is collaborating with Original Imagery and Fabric. This work has been developed and performed at Carbondale Launchpad, Silo Residency, Judson Church, Moving Island Dance Festival, Kelly Strayhorn Theater, and will be presented as an evening length work April 2019 at the KST here in Pittsburgh. Stacey and I will be all over the place at the NPN conference and presenting one of our works Friday and Saturday. We'd love to speak with you about our project and I'll be your DJ Saturday. Thank you. Thank you. Hey everyone, my name is Jorge Rojas. I am a visual artist, performance artist, and an art educator. I also have the privilege of serving on the NPN board and being part of this network for over 11 years. I wanna tell you about two participatory community-based performances that we'd love to bring to your town. Hands Up Don't Shoot is a participatory performance that deals with racial profiling and police brutality. It is a response to the continued inhumane, institutionalized violence against black and brown lives in the United States. The goal of this performance is to create a space where participants and observers can come together in gestures of protest, unity, solidarity, empowerment, mourning, remembrance, and healing. Tether, my second piece, is a new participatory performance that attempts to embody experiences of trauma for undocumented immigrants, refugees, asylum seekers in three different stages of the immigration process before, during, and after immigration. It's really easy to make this happen. Just bring me out to your town. I work with your community and we all do it together. Thank you. Great, thank you very much. Come on. Hello, my name is Lionel Popkin. I'm a choreographer and performer and I've been looking at the role of the South Asian diaspora in our performance world for a decade and a half from what I would consider to be the edges of that diaspora. I live in ambiguity. I lived in hybridity. I live in the space in between things. My current project is looking at the space in between two plays, the end of Oedipus Rex and the beginning of Oedipus at Colonus. There seems to be a little theme of Sophocles going on here today. This is a parable of exile, of migration, of leaving a nation state from which you are ostracized and you aren't very pleased with. Can we all relate to a place that perhaps is better where there is a foreseeable future that is positive? Topography and directions play a huge role. Where are we going? How do we get there? And what do we do about the support networks that move us on? My particular point of view on this is how it resonates on the body that is cut in between. The place where you have made the choice to leave, the made the choice to go somewhere, but you're not sure where you're going to land or how you're going to land there. I want to say, if you're working in, well, the two Antigone projects come talk to me, the presenter I'm working with, Getty Villa in Los Angeles, is very interested in various projects, so please find me. And I'm interested in conversations as well as performances. More important to me. Thank you. Thank you. Moving right along. And there's a problem with my interpreting the graph here. But let's see, I, somebody from Diverse Works, whose name I cannot decipher, my apologies. And Hescaprudencio. So that's it. And Stanley is going to make an announcement. And then Stanley is going to make an announcement. Thank you. My name is Ashley DeHoyas. I am from Diverse Works. I am the new assistant curator, currently working on a project with Jefferson Pinder, called This Is Not a Drill. This Is Not a Drill is a 21st century reenactment of the 1917 uprising of all black soldiers from the 24th Regiment at Camp Logan. The public performance will commence with 15 to 30 performers that will navigate a four mile journey from Camp Logan through Houston's historic fourth ward, which is also Friedman Town. The project is also part of a tour of the south called Red Summer that is addressing the 100 year history of the 1919 summer, Red Summer, which is one of the deadliest summers for African Americans due to race relations and riots. So we're looking for support in the south. This tour commences during the summer of 1919 in June, July, and August. Jefferson will also accumulate a project in July in Chicago where he's currently located. Thank you. Thank you. Hi, I'm Jessica Prudenceo. I'm the Artistic Director of People of Interest, a longtime member of Ping Chong and Company. I'm here to talk about knowing, N-O-H-I-N-G, no-ing, which is a documentary dance theater piece on sexual assault in public spaces based on my experiences as the first Julie Tamor World Theater Fellow and experiencing assault throughout Asia. This is an intersection of testimony, media, portraiture, and no movement. Created in collaboration with a photographer and media and designer, there are three dancers and me, no chanting, the stories of survivors. This, I was first developed, I first developed it as an artist in residence at University Settlement in New York City. We are ready to be presented with room in the piece to collaborate with your community to tell those stories and take portraits and feature those in the production of survivors. This piece explores not only the stories of survivors of the feeling of what it's like to be watched. Thank you. Thank you very much. And with you, Stan Lin. And thank you, folks. Thank you, Alvon. Didn't he do a great job? Thanks, Alvon. So I'm gonna make a few announcements. We do have some platikas conversations happening during lunch today and tomorrow. Please check your guidebook. So today, the Visual Arts Networking artists, presenters, folks just interested in the visual arts gather at 1.15 on the second floor. Westmoreland Central is the room and another platikas, Asia is hosting sober NPN at 1.30. So people who are sober or want to discuss sobriety or need support, that's happening 1.30 on the second floor. And then tomorrow, we'll have two platikas sessions happening, Rock in the Rural. So everyone who wants to talk about rural, I love that word rural, tomorrow at 1.30. And then also we have another session, Finding and Expanding Artist Representation. So talking about more inclusive and equitable means for representation, that's gonna happen tomorrow during lunch as well. Again, if you want, we're still signing up for conversations, so go in the lobby and we'll post it on guidebook and make announcements. I have a few other announcements. I wanna thank Lisa Mount, who is doing graphic recording. She is volunteering her services. If you wanna know more about graphic recording, you can see her and her beautiful work up here. Also, HowlRound has been documenting this and we'll archive it. So a few people asked, how can I find people's names? I know we've been going fast, but if you wanna go back to find out more about some of the projects happening, you can go to HowlRound. That will be archived. And then lastly, tomorrow night, Open Mic is happening at 10 o'clock at Alphabet City. If you wanna sign up, you do have to sign up onsite, and that is opening at 8.30. So you can get there, sign up around 8.30, have dinner in the area, and then 10 o'clock sharp, the Open Michael start. We good? All right. Go eat!