 Okay, good afternoon everyone. Thank you for coming back in despite the beautiful weather outside. Good afternoon. So, thank you for coming back. So I would now like to introduce Judy Hussi-Taylor, who's the Executive Director and Chief Curator at Bend Space Project here in New York City, and she will be facilitating the next session on choreographing residencies. You thank you. Thank you, Noemi. Thank you, Nicole. Thank you, everyone at the Albertine. It's so great to be back, and thank you all for organizing this important symposium. As Noemi said, I'm Judy Hussi-Taylor. I'm Director and Curator at Dance Space Project, which some of you may know, and others may not know that we are located at St. Mark's Church in the Bowery, and we're still there, almost 50 years, so, and I am, thank you. I'm facilitating these wonderful people here today, and, but I did want to say thank you to Fuse to Albertine for insisting on creative exchange between the United States and France, which has nourished, have nourished us for decades, fueled artists, curators, audiences, and it's really good to be back together. So for new friends and old friends, hello. This is a choreographing residencies, a broad topic, and today we'll hear from four distinguished leaders with extensive experience working with artists in various contexts, ranging from large dance centers to universities to small arts organizations to independent producer and curator. Some work collaboratively, some work independently, and we'll hear more about this important work today. I'd like to keep in mind that we're talking about very different scales, all very important because they feed and talk to one another. So we'll have very large organizations that have their own challenges, small organizations that have beautiful opportunities, and we'll hear about all of that today. Different kinds of residencies I was thinking about when we were pre-meeting, there are those residencies that offer time, space, resources, financial resources, which are always great, and focused on creating new work. Then we have community-focused residencies, which shift the emphasis toward education, public engagement, and workshops, away from perhaps feeding into research and into creation of new work, but has a different shift or different emphasis. Then we have a cultural exchange, which focuses more on networks of relationships and connections between artists, between cultures, between aesthetics, between different kinds of institutions. So I think as we listen today to remember that each of these cultural workers and organizations have different intentions for the work that they do. So we'll hear from each presenter for about five or so minutes, and we'll be followed by a response from Ashley Ferro Murray, who's here with us today, who will join us at the end. You have everyone's bio in your program, I believe, but this is the order of our presentations. Can you hear me okay? I think I'm going in or not. We will start with Catherine Ziquanis, Executive Director of the Santo Nacional de la Dance in Paris. Catherine will be followed by Elsa Safarte, the Director of Espas, I'm going to say 1789, in San Quen, San Nguyen, followed by Diego Amir Montes, Executive and Artistic Director. I'm sorry, did I, Edgar, thank you. Director for the Art of Performance, Cap at UCLA, I apologize, and Mariah Weathers, an independent creative producer and curator who's based in New York City. So without further ado, Catherine, welcome and take it away. Hello everybody. So I'm the Executive Director of the Santo Nacional de la Dance, the CND. We have a lot of missions and one of them is support creation. So but I will start with a short overview of the Rendez-Densis organization in France and then I will focus on the different backgrounds of residences. So in France contemporary dance and urban dance and maybe dance in general have developed greatly over several decades from the 80s and thanks to a very strong creativity and in one hand and by proactive policy of the state and of the public authorities in general. And the result, a network of choreographic institution, Les Centres Choreographiques Nationaux, so the National Choreographic Center, run by choreographers. It's a collective like in Rennes with Fer, so Linda is here. And Les Centres de développement choreographiques nationaux, the National Development Choreographic Center with no artist director and a very important result, the increase in the number of companies. What about the dance residences? Normally residences allow artists to have a workspace and financial support to create and can take different forms. Access to this space are a real challenge in France because there is an imbalance between the number of company and the number of the work spaces. In 2022 there were around 667 companies in France including 315 supported by the state. I don't have the future of the additional support from the cities and from the region but you see it's a very dynamic and we have a lot of different companies in the different aesthetics. What spaces to which they have access? Firstly, a lot of residences are organized by the dance structures but there are only 19 CCN and 13 CDCN. We have two very important theatres in France dedicated to dance. Chaillot, the National Theatre of Dance and La Maison de la Dance in New York but they don't have a lot of real soul spaces. Recently the state have greatly granted new resources to this institution in order to welcome more and more artists in the residence season but usually these institutions don't have a stage on which to present the shows and they remain modest budgets. Another option of residency is through the multidisciplinary theatre. In France we are many supported by the state and by the local authorities but they don't have a lot of real soul spaces because they were designed mainly at first for the presentation of performances. Some of them also receive subsidies from the state and from the local authorities because they are very committed to dance field and to organize residences and it's the case of my colleague, Elsa, and she will explain her activities afterwards. So there is no regulation. The residential potential is lower than the request from companies. As a result it's mainly the choreographic structure with limited resources which provide the dance shows and less the multidisciplinary theatre that have more important budgets. At the same time this effervescence means the creativity in dance is very strong and today with a large audience, and it's the case of my colleague in Saint-Ouen. Companies can be hosted for one, two, three years and the theatre becomes their house but it's very rare. A lot of residences are much shorter and just to rehearse a new piece. The dance company is often welcomed for very short times. For many independent companies they have to find at least five residences to be able to complete a wall production and have enough working time to produce a piece. But the impact of residences is much broader. Part of the workplace and the funds, there are many other parameters and the context is never neutral and can have a very big impact on the artistic project. These residences are also important for the teams of the institution because the presence of other creators or creators nourishes their overall project and above all contribute to work with the audience, with the different public and it's because we have a large audience. This creates a dynamic and the companies are not disconnected of the local context and it's also very important. This dimension is even more important when there is a geographic displacement and I'm thinking of the residences at the international level and especially when it's associated with a specific project of research of experimentation as the Villa Albertina. This kind of residences is also the opportunity to open your networks and foreign networks so it's also very important. So it's very fast. Finally, a few words about the CND. So we have two locations in Pantin, nearby of Paris and in Lyon. It's the second French city, Tanguy, you'll tell me if it's the second one. Okay. So we have a 17 workspace. This allows us to imagine a very different kind of residences. We invite artists for two years, the associate artist and last year it was Giselle Vienne and currently is Jérôme Bell and they have a kind of carte blanche. We also invite French and foreign companies to produce and after we present their performances in our small theater. And then you have a real impact because we have a loan system of a studio and it's free. In 2022 we welcome 360 companies every day so a lot of dancers who work here at the CND with a lot of encounters so it's a very great experience. In conclusion, the main challenges we face today are to attract additional funds for creation but it's very important to reclaim time. It's a real question. Hello, my name is Belsa Sarfati. I'm the director of a place called Espace 1789 and to excuse that unpronounceable name I have to explain that it was built in 1989 which was the bicentenary of French Revolution. It's located in Saint-Toin which is nearby Paris that's a multi-ethnic and popular suburb and we have two spaces one with 406 which is both used for performing arts and cinema and the other one with 200 seats where we only screen movies. And each year we program about 40 different shows. We have a focus on dance even if we do present also theater, music and circus and we present well-known artists but also emerging. And we have an artist program in residence for two choreographers. At this moment we have Smael Kanouté and Laïlaka who are also supported by Villalbertine and to a theater director and that's for a three-year cycle. But we don't have proper rehearsal studios. Catherine explained very well the French context so now we know why but we don't have rehearsal studios. So what we call, sometimes people are asking me, so what is a residency? Are the artists sleeping there in the theater? No they are not they even cannot rehearse. So we are trying to turn our weakness into strength by finding other partners, new partners for the companies and we are asking to the others, partners who can land studios like CND but not only. And so what do we call a residence at Espace Musée de Sainte-Catherine-Neuve? It's a kind of program. We give an amount of funding to the artists for their new work, to commission their new work and an amount to present the creation, the performances on stage and to organize with them a large program of community engagement which I'll explain. So I will give you a few examples of what we call community engagement. It was hard to translate that because we say education culture et l'artistique in French. Cultural and artistic education in French? Yeah but I was wondering is that when you say that is that for the courses like university or for the children, students etc. Because I will give you a few examples and you will maybe understand. This year during the school year we are organizing a weekly workshop for students, young teenagers, the practice with a choreographer and during the year they come to attend three shows at Espace Musée de Sainte-Catherine-Neuve and we could also bring them to visit a museum if there is a common topic between the exhibition and the work of the artist. Another example is a daily workshop that we organize for a group of women who have never been to a theater before during two weeks. Then they do practice every morning, three hours. Then we share lunch and in the afternoon we're organizing outings like going to the cinema or to the library etc. We also organize workshops which are open to everybody, our workshop divided for people who are over than 60 years old or other workshops for adults dancing with their children etc. And all of this workshop we are organizing before and after the show of the artist because I think that when you have this experience, a workshop with an artist, when you see his or her show you discover it in a very different way, in a physical way. And for example you can recognize in a performance a movement that you tried to do the week before and it makes you think much more open-minded and even open-bodied if I can say something like that. We also often propose to the artist to create a short piece involving amateurs, inhabitants and after they rehearse on weekends and evenings, for example during 20 or 30 hours, on few months and at the end it results in a short showing with the public. And the experience is commonly described by the participants as something unforgettable. And all of those projects, these projects create a real relationship between artists and inhabitants and between inhabitants themselves. Friends are made and even lovers sometimes, that's better than Tinder. And what I like is that when I see the people coming back to my space and having a coffee to see a show together and they recognize the artists in the streets and a choreographer or a theater director, an emerging can become a local star and after three years of residence they're really well-known and their shows are sold out. 400 sets I said. Yeah and in our conversation today one of the points was the sorry I read my notes but drawing on artistic needs how can we design malleable infrastructures? So one of my purpose is to be based on artistic needs and in all of that kind of project I'm trying to propose to the artist projects which are in connection with their own creative process. For example Joanne Layton who was in residence, she was working for a piece for six professional dancers on protest gestures and I proposed her to work on the same material with inhabitants and they created a short piece with that movement as a base. I don't know if it's correct. Yeah well I like when this kind of project can nourishes their own work because it takes time for them. We give money for their creation, for their new work, for their performances but the artists give a lot of time for this kind of project so I think that it has to be nourishing for them too and they stay mostly three years which is a long time a long duration and I think it may help them to to project their work for a kind of time. Well that's it. Hello everyone I'm Edgar Mita Montes I'm the new executive and artistic director for the Center of the Art of Performance at UCLA. I was formerly at Redcat, the Royal Edna Disney Cal Arts Theatre, a Center for Experimentation related to California Institute of the Arts also known as Cal Arts. So my ethos is really thinking about experimentation as part of my platform and thinking. In my previous job at Redcat we did not have necessarily a residency space we had a technical residency for projects that were just about to launch so it would just be about one week and all of it had to be thrown in there so the time in which it took to get there is often invisible. I often didn't know so now at the Center for the Art of Performance I have the ability to think about residency this is UCLA is a public university and it has three spaces that I oversee that I will oversee I just started in September so this is all very very new and exciting. There are three venues one is a 1600 seat theater the other one is an 1800 seat theater and the most recently opened theater the Nimoy is 299 seats which is in off campus and is near the Hammer Museum for those who have been in Los Angeles and so this particular space is really exciting to me because I'm thinking quite a bit about other than presenting what else we can do as it faces a community of Iranian Americans that's just south of there and a really bustling incredible food and restaurants so you know in our meeting when we were preparing for this Noemi asked about you know bring something a proposal and I took that seriously because I'm actually this is my moment to think about what I want to do and this is all for all of us to think about to see if this is even a viable proposal but so I am borrowing from the co-op model which in the U.S. a cooperative is a some of you may know where a group of people come together to pull resources share and decision making and governance and spread out financial risk co-ops operate from the knowledge that collectivity lets you accomplish more and that the people create value for an institution should also be able to make decisions about how it operates now working within a public institution there's already bureaucracies that I'm not sure I'm going to run into but to think about the Nimoy as a space for artists can come together foundations other folks that are invested in creating artistic work would come together within this framework I imagine working with three to five local national and international artists collectives supported by the resources for a period of two to three years in which then a new cadre of artists collectors would rotate out and then another end to support the ecology of LA artist I would lean towards supporting three LA artists one national and one international and would provide secured and consistent access to the Nimoy which is the space that may include rehearsal space talk conversations invited research space showings where process is the performance and of course as designed by artist needs financial resources would be provided by all as a basis but not limited to a sliding scale that's my proposal to think about as I share it with you all now and you know I was just in Johannesburg so I'm a little bit jet lagged and privileged to have been there I was at the center for the last good idea which is a fairly new space celebrating their 10th season and it's an incubator space in which performance the process of making work is the performance and it's a space where really innovates and allows for emergence to happen and I've been thinking quite a bit about that and how we move into these new times and how to be responsive to the moment and you know I think quite a bit about emergence as we don't know yet what it can be that we have to allow ourselves to someone else mentioned in our previous forum rewire the way in which we think I've been looking to a design studio space called ideas arrangements and effects based out of Boston who really think about rearrangement of things in which we are so used to doing and so putting a different arrangement in the mix of things including this co-op potential idea might be a way to think about how we think about community how we think about art and artists as creatives as creative leaders as change makers which is what they are and why I'm still in this field after such a troubled time yes I'll leave it there for now actually that's my proposal thank you hello everyone my name is mariah weathers I use she her hers pronouns I'm a contemporary dancer that's what brought me into being on the other side and the administrative producing managerial side a creative producer an independent curator working with by poc performing artists black indigenous people of color and director of the gps global practice sharing program at movement research in new york city I've managed different residency programs through the years for different organizations most extensively at the former dance theater workshop now new york live arts and I've played many roles in this in the ecology of this field thinking about the prompt for this conversation of focusing on choreographing residencies I thought it was most relevant to share what I'm working on now what I'm doing so I'll start by and for those who might not know it's just saying very briefly a little bit about movement research the organization that houses the gps program the executive directors here Barbara brian hi Barbara um movement research is a creative services organization founded by and for artists in 1978 so we're celebrating our 45th anniversary this year no small feat also moved into um our own space with office space and two studios so very very important moment um movement research offers programs such as the movement research at the judson church work in progress performance series a variety of artists and residents opportunities professional level movement classes and workshops for adults two publications the movement research performance journal in print and critical correspondence online the movement research festival studies projects and other discursive programs so my contribution to this panel feels a bit different than um my co-panelists here uh and that um rather than looking at creative residencies that support the development of new choreographic projects that will eventually have a live premiere the gps program supports durational artists to artists exchanges with an international artist in residence in a community from one and a half to four weeks at a time the gps global practice sharing program is a reincarnation of the former suitcase fund program created in 1985 at dance theater workshop it essentially functions as a regranting program in support of international cultural exchange projects currently gps works with an informal network of partner organizations based across 10 countries in eastern and central europe including Bulgaria, Croatia, Hungary, Latvia, Lithuania, North Macedonia, Poland, Serbia, Slovenia, Ukraine, and previously Romania and Russia the partners propose projects um for their community of artists through an annual RFP process or request for proposals and gps grants um funds to the partners for their projects um in the region gps also hosts one to two multi-week residencies for an international artist in new york city each year during a gps residency the artist has the opportunity to make an informal presentation about their choreographic work their creative practice and provide important contextual information about the conditions of the arts and culture in their home city in their home context gps residents residency artists also receive mr classes and workshops rehearsal space in the mr studios and perform up to 15 minutes on the movement research at the judson church series starting in 2019 gps supported exchanges with artists and cultural producers from the middle east and north africa region including sorry providing multi-week residencies in new york city for palestinian artist sahar damoni yasmin ventrifa and mohammed lambkasi from morocco in partnership with company ananya and marrakesh a virtual residency for an iranian artist during our virtual melt summer workshop intensive series the duo nasa for nasa saluma abdel salam in norah safe hasanian from egypt and rome asuad from yadaka cultural organization in bay root lebanon after the pandemic pause reciprocal projects in the region were able to resume and included teaching residencies by ishmael houston jones and jose abad at saraya remala in palestine and by mckinney from also known as juma tattoo in po um at and excuse my pronunciation naffas sensor they are choreographic de marrakesh during the 2023 edition of the on march festival in morocco in april of this year gps partnered with the 2023 new york arab festival to host two gps chats on topics arab american choreography today featuring norah alemi jad tank and leia mona towill and contemporary performance and creative production in bay root with rome asuad from lebanon i'm very excited to announce that after a pandemical induced hiatus the movement research festival is returning in spring 2024 with a focus on the artists and partnerships developed through the gps menna program gps will host artists from egypt iran lebanon and palestine for two weeks in february and march 2024 please stay tuned for the official announcement in december in the meantime we can continue to support efforts towards the ceasefire stop the genocide and end the occupation thank you thank you all thank you mariah reminding us of the importance of artists at the center of crisis in our time and what they can do and who they are and how we should support them and times like this so thank you for that and thank you all for sharing your work which is so rich and so difficult in the best of times let alone the times that we are in which are challenges politically economically post personally um and something you all touched on and i think it speaks to noemi's question that she posed in this panel um foregrounding the issues of research and deceleration in a product-oriented economy you all mentioned time three years was mentioned quite a bit actually that must be some magic number of years but we can look at that but the time and and how um i guess my question is am i concerned is how we make a case for time for slowness for artists and communities and us the culture workers who work with artists to have time to be together to do the work that needs to be done in a given space in a different and and community and how that is counter to what we are expected to do and we love to do which is produce work support work create work see work so i you know it's a it's an interesting time to think about that and what challenges you each face i guess so i want to say making a case to make more time what are those in your individual work what are you and what are the opportunities that you're seeing now and so that's my question it's broad and take it wherever you need to in terms of your own work and organization catherine shall we start with you you mentioned time you left us at time time and i guess you know what did you mean and can you pick up there she's she's going to go ahead and speak in french and i'm going to translate otherwise my um my thinking is going to be a little um more did we introduce you this is Aubrey thank you so in front in france i'm really going to talk about the french system so one thing that we've been observing over the course of the last few years as a kind of multiplication of kinds of creation which finally come about in conditions that are less and less favorable so i first i mentioned the the question of space and the number of spaces that are missing relative to the number or that are lacking relative to the number of companies but the financial question is essential since the dance has developed and it's a lot more professionalized but the financial question is really important because dance has developed a lot and has become much more professionalized so dancers and teams must be remunerated so dancers and the teams the companies need to be remunerated in the right way so that means first that the time for repetition it's shorter than it used to be so a dance um it's a real it's a real artistic pact um because unlike theater or music the work is really done in the studio with that kind of experimentation between the dancers and the choreographers so it has a real impact on artistic projects so it has a real impact on artistic projects for choreographers who don't get to prepare for on a longer time scale so it means that we have to return to a moment when i was thinking about when i was a young dancer and a show was rehearsed during at least three or four months and now we're happy if we have eight weeks regulation excuse me it's an economic term and that's really why we're interested in time and it's why i talked about the question of regulation um and excuse the economic um turns so and it's perhaps in effect um the the decision to produce shows less often but better quality and so the negative effect is that um companies are really forced to create a lot because you have to be visible in order to be paid and to be subventioned um so the the context or the oh the subventions are have been much reduced in other and the the kinds of creations that are state funded so we're at a point in which um all of these questions of financing are related to a sustainable development and to questions of consumerism and it's almost as if we had to to um pass through a period of expansion in order for these things to happen but this question of time and duration uh i mentioned the three year cycle and i mentioned that we we organized the the artist residence with um commission for new work um presenting performances and stage and the community engagement but it's not necessary to present a new work each year of course i always tell that to the to the artist it's because of what Catherine is saying um because some programs push the artist to to create new works each year's each year sorry and it's too much of course and so i tell them you can have one creation this year and no next year you still have the the money i i i give to the company you you keep it for research or rehearsal or our other projects with the the the inhabitants well and the the three years duration um we are talking about the what we can do uh for the three years but we don't have to say at the beginning you will do that that year and do that the next year and we are working in progress together with their with the companies to see uh in order to to be based on their necessities their their wishes their desires and what happened to them uh artistically and personally and professionally and yeah it allows them to to project but not to not even in french i don't have the word the that's a problem so thank you for helping but i mean i don't want to put them in a box with a uh a strong calendar um even in in in english in french it doesn't make sense but maybe you understand what i mean breaking up the order here um yeah the question of time you know for the work that i'm doing with international exchanges it's all about time it's about relationships and um you know when i inherited the program there was already an established network but with the the new branch in north african the middle east it was it's been a slow process of developing relationships um and uh you know i my approach is to always try to go to a place before i send any artists there so i have a sense of a little bit you know of what it's like on the ground what the conditions are that the artists are working in and working the structures or lack thereof you know how they're making their work um uh and then but then also when when we're building the residency to try to consider um how they can maximize the exchange the time with people on the ground so when we started hosting the artists in new york city i uh formed an informal new york city cohort of artists so you know simple things like we had a welcome dinner and making sure the artists were there and then the artists attended the new york city artists attended their their gps chats presentation their movement research at the judson church presentation but that so there was a sense of a of a group um in this big city you know that it's like you can get lost which is wonderful and then also like very can be very daunting and intimidating um you know and this is like over two or three weeks of residency time but trying to create opportunities for them to spend um as much time together as they can in addition to the support that they have you know access to the studios and classes and things like that um and i was gonna say something else but it left time time time time um yeah and then just you know and saying in a different way what i think everyone is saying like you know there's a cost related to time but there's also a cost related to applying for visas and trying to get out of the country depending on where you're traveling from trying to get into the united states so really trying to stretch the dollar as far as i can which is why in general the residencies are a minimum of three weeks so it's once they're here they can really spend some time here so a different way of thinking about the time but still yeah like how can we stretch it and um create more opportunities for artists to be um in conversation with each other in dialogue so yeah no thank you um i've yet to determine what that's gonna look like um in terms you know of what i'm thinking but um i i think i have um the potential to just think about with artists um that time in which i said two to three years potentially as as part of a residency is that it doesn't have to end in a product it really just is time in the space currently ucla does commission and does a two-week residency for projects that are in development um and uh they do a presentation at the end i think i really just want to think about developing um artists and their work um in and around ucla also um that are non-arts and other departments and just kind of think about building through whatever their interests are and so that that residency or that specific time is really um could be just being with other departments and um it isn't something to show um i'd love for it to be a conversation but i don't think it needs to be something in terms of a product and i think being a presenter with two other spaces i have other things that i could do while that time you know and program those spaces as well but to kind of think about this as a separate but potentially into a presentation as well but it doesn't have to end on that thank you all um and just to add that the time helps to develop relationships and relationships are those over time that we can lean on with artists and others and you know in in these moments in difficulty i would hope that that would be a proposal that we put more energy into those relationships and building those relationships and i want to invite ashley uh ferro mary i think it's ashley okay we're going to bring you up here i don't know ashley is the um director of the arts program at doris duke foundation and as a dear colleague and dance curator dance film curator who was formerly at impact and has worked with many many many artists and we're just so honored to have you here with us today ashley for your formal response should ashley speak somewhere where should how should we choreograph ashley i think we need to bring you up i can stand hi everyone is that good oh can we see everyone good cool performance um hi my name is ashley ferro mary she her pronouns so thrilled to be here with you all thank you so much for your thoughts and shareings and reflections um and as judy mentioned i'm currently with the doris duke foundation as the arts program director i've been there for for the long period of two and a half months and for the better part of the last decade i have been running a residency program at the experimental media and performing arts center so i think i approach this from with both both hats on i'll say um and so i what i'm thinking of when i hear you all talk about different approaches different temporalities and what they entail i'm i'm thinking about dynamic ecosystems of residency engagement and the different aspects of those so i'll share with you just a few of them that i'm thinking of uh today not an exhaustive lift by any means uh financial systems space and place temporality as we've been discussing format staff support technical support documentation and archiving community placedness engagement exchange being with i'm thinking about iterative work and what it means for each residency encounter to be distinct from the last and from the next within one artist's practice and across artistic work how can our artists benefit from different contexts where we have an ecosystem of each institution program person producer serving a different niche role and really focusing on the dynamism and pluralism of that role but also recognizing that having to be uh chameleonic to borrow a chameleon kasako's word can also place a deep amount of um not burden but weight on a practice um in other words where are we now that we are outside of a touring model where we're going to very similar venues night after night city after city it seems to me that artists who are moving across international lines but also within states are having to be in kind of different territories with each institution that they enter different modes of operation being with staff cultures or outside of them i love this idea that it doesn't have to be a product in the end or a performance what does it mean to have the creation be the thing that we're making and i think that we're seeing that in many artists work um many artists who i've gotten to work with and have had the pleasure of working with and maybe that we'll even see over the course of these couple of days um i'm curious about the specificity of artist the specificity of site and the specificity of project within buckets of residency engagement and maybe that's enough and we had talked a little bit at the beginning actually about my giving a moment of reflection and also for there to be an openness of exchange i think that you know maybe i could start that exchange by sharing that my personal context is having worked very deeply in media infrastructures and technological approaches i was struck to hear about virtual residency work and i've been thinking about that very much especially with relation to the difficulties of moving across borders in 2017 i had the honor of working with alimony and we you know went through the visa process right at the very moment that border restrictions were placed by the trump administration and we had a really interesting long-term conversation around what a virtual residency within our space would look like and we we did that and it you know again it's it's all a part of being in this ecosystem right it wasn't what we had intended it didn't serve what we set out to serve and yet we found so much in the process of moving through that space together um and so yeah i'd be curious to continue to think through maybe as a group about what the the specificity of different encounter might bring about for us in what is clearly uh thanks to all of your individual accounts a changing landscape for the residency model thanks so much food for thought ashley thank you thank you thank you for that response um yeah i want to fly i know um and i just want to add that and it's something that i think we wanted to get to i think mariah brought this up um adger and at different points that this really should be collaborative with artists all the time you know even up here we we can only fit so many people here but we should be doing this work with artists not and for but collaboratively and i think that's a part of um you know it's come up a bit and and how does that work in terms of this responsiveness not doing the same thing it's it's difficult to not repeat um actually and that's the work that we hope to do with artists but do we have time for questions from people and here i'm sure they're and um we're open it up to you and if there are artists in the room i'd love for them to know there's just only a few i know several shall we start with an artist oh how about david and duke next thank you hi this is david um and i you know i just want to applaud the idea that we're looking at residencies in this question of survival of the creative force um and i think given the fact that we're in the 21st century and the economic and social and political models are constantly shifting we have to create more fluid and organic systems i really appreciate agar you looking at effects ideas and arrangements i had read though it's an amazing book i think it really i think it's essential for us to re-examine what we take for granted as relationships and why and also the concept of process versus product and the pressure emotionally financially on actually creating those so what are we actually supporting within these models and how do we reimagine the ideas of incubators rather than as end goalposts i think it also relieves the the weight of artists having to come up and develop something that's either liked or not liked and then that either helps them or destroys them how do we create a river of artistic growth and support that actually allows people to be creative inspirationally rather than productively and i think time is really the key and beyond that is looking at what are the financial models that support those it's wonderful that you have these two streams of support that you can that allows you to do that for other organizations they don't have that and i'm really intrigued by your thoughts actually because a lot of the work that i do is surrounding looking at sort of biomimicry what are these ecological systems that have been around forever that work that are about exchange are about transmission how can we use those to rebuild these models these 20th century models of performance and an economy that's it thank you hi my name is duke dang i'm the executive director of worxham process most people probably think of us as being associated with the guggenheim worxham process is really a fancy name for show and tell and i'd offer up this paradigm because for the past 39 years all we have done is share the process and value the process and do show and tell and it is a viable model for us and i think the paradigm to think about this is the people in our ecosystem that actually have access to the process tend to be the donors the donors are invited into the studio they're invited to meet the arty the artist right and they get to learn about the process and they value it and so they're more generous but why are we keeping this valuable part of the ecosystem hidden why do we keep on prioritizing product when we need to actually monetize every part of the process from studio to stage and so 70 performances a year it's show and tell and i think most artists that come to worxham process understand that it's a safe platform to share this process um and then along the lines of choreographing residencies because we are an organization without walls um we actually have built an ecosystem of 14 residency partners in three states just to acknowledge that we have inherited generations of prioritization of brick and mortar but not prioritizing the people that use them and so as an organization that isn't burdened with brick and mortar and the cost of running brick and mortar we take our 1.5 million dollar budget and we devote it to supporting artists throughout multiple residency cycles and not forcing them to work in the residency space that we own or re-rent but being able to say well you're at this point and you're a creative process let's match you with the right residency partner or the right community so i just offer that up um hi i'm barbara brian i'm with movement research and um i guess a question for all of us and to me this ties back into our last uh discussion as well um movement research as mariah mentions is a 45 year old organization and our residency program dates back to the early 90s late 80s we have multiple residency programs now one is our two-year residency program we have a parent artist residency program we have a most recent program called access movement play which is a national program for a disabled artist um and we have a van leer fellowship which is also to your residency for um early career artists of color i working at an organization now for over 15 years where the residencies have always been about practice and not about production have continually come up with the question from artists of how can we show the work we've developed in residency and so i think this question that we're getting about time is critical um and it goes back to um what katrine was saying about artists needing five residencies to put together to create uh projects and i think in new york it's a very similar paradigm and as we're creating these residency spaces for time i'm hearing increasingly more post pandemic of artists wanting opportunities to share process to share practice publicly uh to share final production publicly and a lot of the artists we were working with i will say our earlier career artists so then that's what takes me back to the conversation we had before and what's happening in in these institutions and in these colleges and how we're bringing artists into the career path of dance and how we're thinking about practice and process as a very important part of career trajectory a very important part of time and space and career um development and just thinking that i don't know i'm just feeling you know edgar i'm really interested in what you're doing also being you know partnered with the university like how is that um connection potentially going to be made over time with the students that are coming up through these conservatory systems that do really um educate dancers to be performers and to go into production and i know we're trying to shift that for students as well so it's really it's a broader question i'm putting out for everyone and would love to engage personally with anyone that's interested in having the conversation further because a lot of just a lot of thinking i have to do about all this thank you hi um my name is stephanie batten gland and i work in between the the states and france and um have for years had to exist at outside of systems and i'm hearing a lot today about legitimacy and the the right to exist and the right to exist especially inside of curated spaces or presented spaces that are hosted inside of higher education right now and on our side in particular what i find fascinating is that yes we do have the right to exist and to become normalized inside of society and that does come with indeed access to process because that does render us a normal part of the social economical community and in particular however what i think is most unique post trump inside of the prices of visa coming into the states at least is that i notice in our corporation society in the spaces that often become donors we allow visa entrances and exits in collaborations with institutions that are abroad yet quite often in our concert community we oblige the individual to purchase the individual visa i'm very curious right now about how do we support institutions whether they be small associations or small foundations or five non small non for profits abroad so that we can actually move smoothly back and forth because tons of money are exchanged in larger cooperative spaces when people are entering under tourist visas well now imagine that the economic value that the trickle down has of a show into a town into a city does exist when we bring people in and when we continue our collaborations i wonder if we can support those people by working with their association so that they do have the freedom and the ability to travel and and that that weight isn't placed on the individual because we do now know that that visa has now gone up yet another 1600 so now we're looking at five hundred five thousand dollars pretty much for a visit that might last only two weeks but yet the banker at city bank was able to come in and make what four billion in two days so i'm really curious if we're thinking about how can we widen our models to ensure that the flow of travel represents our flow of thought and our flow of creativity i'm not totally sure how this relates but or um i so i'm thinking about projects that take a long time to make and then a long time to tour i'm sort of in that process now where i accepted a commission to make a work in 2017 and it just premiered in april because of the pandemic and so i had to kind of raise money and raise money to not only keep the work alive but to keep the dancers alive and to some degree as much as i could and now we're at a place where we've presented the work with at four out of five venues that commissioned it and the fit venue may not happen until 2025 so because they're in a hole because so many institutes mean so many institutions have are transforming and you know staff are changing so i'm looking at now a work that has finally premiered that i didn't know if it would and now thinking about how the dancers are aging and their bodies are changing and the idea is decaying and how to then what if this project just then doesn't only go to the fifth presenter but keeps going as like a chronicle of the lives of the dancers like how can i mean this is like an artistic idea but also just curious about when we're talking about time and the kind of expansion of time and making work that isn't based in necessarily vocabularies but practices and how those practices change with the abilities of the dancers and you know thinking about really really long term about the life of projects and how touring models um could also incorporate the sense of the way in which the performers can no longer do the work they set out to do but can do different kinds of work and still call it the same project um yeah i just want to say that um going back to a lot we've been talking about today is including everybody i just want to just talk about i just retired i worked at the i was the director at the university of alabama i was there for 28 years in the deep deep deep south and during that time um i was very fortunate because i was able to create this incredible dance program that allow a lot of african-american students to get their education and our first project was to go to leon france these were 15 african-american kids who we took to france to perform um and that was that first residency but i say all this to say this is during my time there i was able to create a lot of programs that raised a lot of money to be able to allow the students a to get an education but b what we were able to do was i was able to create a working relationship with american dance festival uh i was dean of the summer dance program at harvard and i also created this um program with what we do summer intensives with like radio city rockettes and abt did the first summer program there but i partnered with them not because that was the mission of our program but i knew that we would be able to create financial situation that would allow me to be able to have resident seats that would allow me to also have financial money to be able to play for african-americans um tuition so we would be we were able to create this whole dynamic where we were partnered with companies different companies that we were able to split the the monies for all kinds of things but what i'm trying to say is that learning to do that on my own with nobody teaching me that no one has ever invited me to a panel to talk about how did you do for 28 years create a program in the south and the middle know where we're now we have about 15 african-american kids on Broadway which is unheard of so there is models for this but we i think we have the tendency to run to the same people we know it's like if we have our few black people that we know we call them all the time like we don't think about other people who have been doing this kind of work and other places i think that that's where we need to start to look at look out in different spaces where people who have been doing this kind of work because like as we say in the south we were taught if you want corn you planted yourself so we we come out a model of creating these long something out of nothing and i think that during this time we need to turn to people like myself who've been doing this without the corporations but and and think about being in the south where i learned that i did have to go i knew i was in a place where there was a lot of fraternities and sororities i knew to go there to help them to help sponsor this so it wasn't like running away from my community i knew how to bring them in as well i would go to the country clubs and meet and have conversations about sponsoring our concerts and sponsoring scholarships so i think that you can have all of these conversations that a lot of people who don't have to work in those kind of environments can say well i don't want to deal with these kinds of people or those kinds of people where in my case there was no choice because it was bigger than me so i it's you know what a lot of people who can say well i'm not dealing with those people because i don't have to i never had that choice so i learned how to bring everybody to the table in a way that i think a lot of people never had to so i i think looking out and seeing who are the people who have been on in the ground in these places who have been doing this work for a long time yeah thank you for that perspective and it's a great place to end and begin actually creating and establishing new relationships new networks and going places we don't or some of us have traveled for a long time and others haven't right so thank you for that um do we want to have any are we we're almost right on time we could we could we could thank mariah edgar elsa kathleen aubrey ashley thank you