UFTR [Winter 2005]

Up from the ROOTS Journal

Artist Survival Guide

In this Issue: Resources GrantsOn the WebSuggested ReadingState ArtsYouth OrganizingAnnual Meeting ScholarshipArtist with Disabilities Winter/Spring 2005

JournalUp from theROOTS

Journal

“Look and you will find it—what is unsought will goundetected.” Sophocles

I can recall learning, justprior to becoming an artsadministrator in 1997, thatmy state had a commissionon the arts. As an emergingartist at the time, this wasnews to me; but from thatmoment on, I made it mybusiness to learn of every

resource they had and inform other artists in the communi-ty.

While what is unsought might go undetected, what isunknown can keep artists from prospering.

Many artists want very much to go confidently in the direc-tion of their dreams, but sometimes face obstacles; forexample, a lack of information or connections toresources. Whether it’s advice on how to complete a grantapplication or an opportunity to showcase their workbefore an audience of potential presenters, they want toknow “where is what ‘I’ need?” No matter where we are onour journey, we need concrete information. How manyartists fall by the way because they do not readily haveaccess to the resources and time-sensitive informationthey need?

Look into the pages of this issue of the UP From theROOTS and you will find a plethora of resources for multi-disciplinary artists, from how to get on state artist rosterswithin regions served by ROOTS to marketing tips forartists. Also to be found are connections to youth artsresources and web sites that are chock-full of resourcefulinformation. Alternate ROOTS is committed to servingartists and doing our best to share information that is ben-eficial to the growth and development of artists at varyingcareer levels.

We want this issue to serve as a guide to resources and services. At Alternate ROOTS, we do not believe in the“starving artists” myth, but seek ever to dispel this myth by empowering artists to do their best work and be agents of

change within society.

There is so much information available to artists in the way of resources, and we have only scratched the surface in thisissue. If you have other information that you know would be of value in helping an artist reach his or her career goal(s),drop us an e-mail at [email protected], and we will be sure it gets posted on our web site.

Carolyn Morris, Executive Director Alternate ROOTS

Staffexecutive director Carolyn Morris

programs & regional development director Carlton TurnerJournal Editor Rodger FrenchGraphic designer Carlton Turner

OfficersChair D. Patton White [email protected]

Vice Chair Stephen Clapp [email protected]

treasurer Luci Murphy [email protected]

Secretary Laverne Zabielski [email protected]

Regional Representativesalabama, georgia, south carolina

Jaehn Clare [email protected]

Omari Fox [email protected] Delgado [email protected]

Teo Castellanos [email protected], north carolina, tennesseeMarquez Rhyne [email protected], mississippiMaurice Turner [email protected]

Kathy Randels [email protected], d.c., virginia, west virginiaAdrienne Clancy [email protected]

Carol Burch-Brown [email protected]. Shimi [email protected]

Trina Fischer [email protected]

Jessica Robinson [email protected]

printing Walton Press

Up from the ROOTSJournal

Creative Capitalis now open for submissions in the fields of Performing Arts and Emerging Fields/Innovative Literature.

To apply for a Creative Capital grant, you must first submit an Inquiry Form. To view the Guidelines and Inquiry Form for Performing Arts and Emerging Fields/Innovative Literature, visit www.creative-capital.org. Inquiry Forms must be submitted by March 14, 2005.

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Resources

Recommended by Sheila Kerrigan

On Conflict and Consensus by C.T. Lawrence Butler & Amy RothsteinFood Not Bombs Publisherswww.consensus.net

Theatre for Community, Conflict and Dialogue, The Hope Is Vital Training Manual byMichael RohdHeinemann, Portsmouth, NHwww.heinemanndrama.com

The Performer’s Guide to the Collaborative Process by Sheila Kerrigan Heinemann, Portsmouth, NH,www.heinemanndrama.com

Games for Actors and Non-Actors by Augusto BoalRoutledge, New Yorkwww.routledge.com

Waging Peace in our Schools by Linda Lantieri and Janet PattiBeacon Press, Bostonwww.beacon.orgSheila Kerrigan is a performer, director, author, and teacher who works in schools, withat-risk youth, and in community settings. As co-director of TOUCH Mime Theater for 17years, she toured the eastern US, performing and conducting residencies and workshops.With TOUCH she collaboratively created twenty original performances. She has conductedresidencies for arts councils and universities, performed and taught in prisons, juveniledetention centers, hospitals, in corporate settings, street festivals, and on television. Shehas directed original plays for Jelly Educational Theater, a professional, adult company thatperforms issue-oriented plays for children. She has developed curricula that use mime and theater games to teach fun-damental life skills like cooperation (leading and following) communication (focusing, seeing, listening, self-awarenessand responding) creative thinking and collaboration. While researching for The Performer's Guide to the CollaborativeProcess, she interviewed over seventy creative collaborators and studied group facilitation, mediation, and conflict reso-lution. She has developed a theater-based curriculum around these skills. She holds a certificate in conflict manage-ment from the Center for Peace Education. She is a member of Alternate ROOTS, and serves on the ROOTSResources for Social Change Training Team.

Sheila Kerrigan

Executive Director’s Remarks............................................2

Resource: Recommended Reading...................................3by Sheila Kerrigan

It Ain’t an Easy Row...........................................................4by Jaehn Clare, M.A.

Resource: Artists with Disabilities.................................4 - 5

Resource: On the Web.................................................6 - 7

Cheap (OK, Free) Advice for Artists Concerning Grant Applications.................................................7by Kathie deNobriga

Artistic Assistance Report:Spontaneous Invention with Bobby McFerrin...............8 - 9

by Elise Witt

Resource: Youth Organizing.........................................9, 11

C/APP Report:Brecht, Booker and the Making of Dawgma:

an open love letter........................................10 -11

by Mat Schwarzman

In the Beginning...There Is Your Voice.....................12 - 13by Jamie Merwin

Resource: Annual Meeting Scholarship.........................13

How I Survive as an Independent Artist...........................14by Keith Knight

Resource: State Arts........................................................15

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Recommended by Jaehn ClarewwwJaehnClare.com

Ability MagazineExploring issues from the perspective of people with dis-abilities, with a focus on the arts, current events, andentertainment.www.abilitymagazine.com

Association of Mouth & Foot PaintersAn international membership organization serving artistswith disabilities who paint using either their mouth or theirfeet; the association operates an office in Atlanta.www.amfpa.com

Arts for HealingArts have an incredible potential to heal the individual,and to heal communities at times of need and turmoil.www.artslynx.org/heal/index

BackstageCalling itself the “complete online performing artsresource,” click on the Performer’s Resource Directory forWeb links and listings for the various needs of performingartists.www.backstage.com

Coalition for Disabled Musicians, Inc.Resources and information are available on this site formusicians with disabilities.www.disabled-musicians.org

Deaf ArtResources and information on Deaf Art can be found onthis site; particular attention is given to Deaf View/ImageArt (De’VIA).www.Deafart.org

Disability ResourcesThe Disability Resources Monthly (DRM) guide toresources online.www.disabilityresources.org/index

Disability WorldA bimonthly web-zine of international disability news andviews.www.disabilityworld.org

ELA Foundation, Inc.ELA’s mission is to promote, through grants and scholar-ships, the inclusion of people with disabilities in the arts,advocacy and education.www.ela.org

“Art and performance - be it literary, dance, theatre, music, film, video orhumour - are magic and creative forces. Mix them with the experience of dis-ability and they become a miraculous expression of the illusion of limitationand proof of the existence of infinite human potential.” Philip Patston / Comedian, Writer, Consultant

As a person with a disability who made a choice to work in the arts, Irealize that forging a career as a working artist ain’t an easy row tohoe. Following my personal experience of a spinal cord injury in 1980,I almost gave up my dream of working professionally in the Theatre;but when I tried to imagine what else I would do, I couldn’t - and so Imade a lifetime commitment to myself as an artist. Today, with morethan 25 years of production credits, employment history and even acouple of awards, I have an actual career in the arts.

The importance of resources cannot be overstated. Get professionaltraining, work at refining and strengthening your basic skills, practiceyour craft and never stop challenging your limitations and stretchingyour creativity. Learn how to take care of business, and develop self-advocacy skills. Don’t let service providers, administrators or anybodyelse convince you that the Arts are not a viable employment arena foryou as a person with a disability. Remember, it’s not impossible just because it may be difficult for someone else toenvision. If you really want that professional arts job, then BE the best person for the job!

If you want a career in the Arts, you face a creative challenge, but it will transform your life in ways you might neverimagine. The journey will be - it IS - worth your every effort. So make the most of every resource that you can find; hereare a few that might help get you on your way.

It Ain't an Easy Row by Jaehn Clare, M.A.

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Enabled OnlineConnecting people with disabilities.www.enabledonline.com

Graphic Artists GuildDisability access symbols are available to download fromthis site.www.gag.org/resources/das.php

Media Access OfficeDisability resource to the entertainment industry.www.disabilityemployment.org/med_acc

National Arts and Disability CenterThe NADC is dedicated to promoting the full inclusion ofchildren and adults with disabilities into the visual-, per-forming-, media-, and literacy-arts communities.www.nadc.ucla.edu

National Endowment for the Arts / Office forAccessAbilityInformation on activities, services, and partnerships.www.arts.goc/resources/Accessibility/index

National Organization on DisabilityIt’s ability, not disability, that counts.www.nod.org

Non-Traditional Casting ProjectA not-for-profit advocacy organization established in 1986to address and seek solutions to the problems of racismand exclusion in theatre, film and television.www.ntcp.org

Open Directory ProjectThe Open Directory Project is a human-edited directory ofthe web. This site contains information on accessibility,artists, dance, film, television, music and theatre.www.dmoz.org/Society/Disabled/Arts

Putting Creativity to WorkPublished by VSA arts, and made possible by grants fromthe Social Security Administration and American ExpressCompany, this guide to careers in the arts for people withdisabilities offers a wealth of information in an easy-to-useformat, including:*More than 110 descriptions of careers in the arts*A step-by-step guide to the process of finding and beingselected for an arts-related job.*Relevant information about funding, support groups,*Social Security benefits and work incentives, and healthinsurance*Biographical sketches of artists with disabilities who aresucceeding in their chosen fields, and some of theiradvice to those just starting out.

To order copies, fax your request to the Social SecurityAdministration:410-965-2037

Include the following information in your fax:Name: Putting Creativity to WorkICN: 342351Number of copies requestedName of person requesting the item(s)Street Address of person requesting the item(s)

Requests for alternative format materials should be direct-ed to:Braille Services1-A-19 Operations Building6401 Security BoulevardBaltimore, MD 21235410-965-6414

Theatre of InclusionWe are all equal. Period.www.theaterofinclusion.net

U.S. Department of Justice / Civil Rights Division –ADA Home PageInformation and technical assistance on the Americanswith Disability Act can be found on this site as well asADA Design Standards, information on the TechnicalAssistance Program, Enforcement, and Code Certification.www.usdoj.gov/crt/ada/adahom1

VSA arts, National Home OfficePromoting the creative power in people with disabilities.www.vsarts.orgwww.vsarts.org/x630.xml (Link to Career Guide Page)

Web Accessibility Initiative (WAI)WAI, in coordination with organizations around the world,pursues accessibility of the Web through five primaryareas of work: technology, guidelines, tools, education andoutreach, and research and development.www.w3.org/WAI

Writers with DisabilitiesMany articles on people and writers with disabilities areavailable on this site after a short search.www.suite101.com

[Jaehn Clare currently lives in Atlanta, Georgia, with herpartner Earl Daniels, one teenager, two dogs and a cat.She is employed full-time as the Director of ArtisticDevelopment at VSA arts of Georgia, and she freelancesas a solo performer and teaching artist.]

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Artists’ Health Insurance Resource Center(www.actorsfund.org/ahirc)

A major concern among Americans is their lack of access toaffordable insurance and appropriate health care. This issue isespecially relevant to artists and small arts organizations whoexperience difficulty in obtaining and keeping insurance.Because many artists do not receive health insurance throughemployment, and do not qualify for needs-based insurance,they frequently fall between the cracks

The impetus for the Artists’ Health Insurance Resource Center(AHIRC) began with the AIDS Working Group of the NationalEndowment for the Arts, which sought to devise a cost-effec-tive response to the high uninsured rates among artists livingwith AIDS. The AHIRC database was created in 1998 by TheActors’ Fund of America, with a grant from the NEA, as ahealth insurance resource for artists and people in the enter-tainment industry.

With support from The Commonwealth Fund, the AHIRC data-base has expanded to include resources for the self-employed, low-income workers, the under-insured, the unin-sured who require medical care and many other groups.

The Actors’ Fund National Headquarters

729 Seventh Avenue, 10th floor New York, NY 10019. Phone: 800-798-8447

Georgia Lawyers for the Arts(www.glarts.org)

Georgia Lawyers for the Arts (GLA) is a nonprofitorganization that offers legal assistance and educa-tional programming to artists and arts organizationsin Georgia, thus providing a critical link betweenmembers of the legal and arts communities. GLA,through its network of over 500 volunteer and mem-ber attorneys, provides legal assistance to musi-cians, songwriters, photographers, filmmakers,painters, poets, graphic designers, actors, theatrecompanies, dance troupes, museums and artistsfrom many other disciplines.

GLA conducts 50-60 educational seminars andworkshops each year on numerous legal and busi-ness-related topics, has an extensive resourcelibrary (over 250 titles, as well as sample contracts,copyright forms and other resources) and provideslinks to volunteer lawyers for the arts organizationsthroughout the U.S.

Georgia Lawyers for the Artsc/o Bureau of Cultural Affairs, 5th Floor

675 Ponce de Leon AvenueAtlanta, Georgia 30308Phone: 404-873-3911Email: [email protected]

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Alternate ROOTS 29th Annual MeetingAlternate ROOTS - along with the

Center for Digital Storytelling - inviteyou to join us at the LutheridgeConference Center in Arden, NorthCarolina from August 9-14, 2005.

This year there will be a hands-onDigital Storytelling workshop in whichparticipants will design and produce a3-5 minute digital video.

More information to come!

*Artist Studios*Performances*Open Space

Technology*Community*Art*Cultural Exchanges*Arts in Education

M ark YourCalendar!

August 9 - 14, 2005 Lutheridge Conference Center Arden, NC 6

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Cheap (OK, Free)Advice for Artists Concerning GrantApplicationsby Kathie deNobriga

Basically, I offer three pieces of advice:

1. Ask someone else to read your application not only for typos, but also for jargon orobscure language. I’d recommend someone smart other than your collaborators –someone who won’t hesitate to point out grammar mistakes and who won’t hesitate toexclaim “say what?” if s/he reads something dense. Remember, panelists are reading dozens,hundreds of these applications, and they do not have time to de-construct an overly philosoph-ical or academic treatise. Keep it clear, simple and accurate. If you’re sloppy with language, I might think you’d be slop-py with money, too.

2.Answer each question, fully. Panelists can often tell when you cut and paste from other applications or dance aroundthe answer. Make sure you’re giving the information needed and giving it in the format required: requested page length,word count and font size. I’ve seen a panel turn ugly in the mid-afternoon doldrums when someone doesn’t follow direc-tions and uses 7-point type.

3.Assume that there will be panelists who do not know your field. A performance application might be read by a visualartist or a composer. Keep your narratives accessible (but not insultingly so!) to any reader. Sometimes panels have a“lay person” such a board member whose may know everything about opera, but nothing about contemporary solo per-formance.

[A founding member of Alternate ROOTS, Kathie deNobriga served as ROOTS’ Executive Director andPlanning/Development Director for ten years. A certified mediator, she is now an independent consultant for numerousarts organizations and state arts agencies in the South. Currently she is serving as organizational development coachfor grassroots organizations working for social justice, funded by the Mary Reynolds Babcock Foundation. DeNobriga isa Fellow in Rockefeller Foundation’s Next Generation Leadership program, and is on the City Council of Pine Lake,Georgia.]

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The Foundation Center - Learning Lab - User Aids

(www.fdncenter.org/learn/useraids/index)

The Foundation Center’s mission is tostrengthen the nonprofit sector by advancingknowledge about U.S. philanthropy. Foundedin 1956, the Center is the nation’s leadingauthority on philanthropy and is dedicated to serving grantseekers, grantmak-ers, researchers, policymakers, the media andthe general public.

Foundation Center librarians have long provid-ed “user aids” to guide visitors with particularinterests to effectively use the resources intheir library collection. They’ve adapted aselected group of these user aids to includeboth print and internet resources for visitors totheir online library. These resources serve theneeds of individuals as well as nonprofit organ-izations.

Fund for Women Artists(www.womenarts.org)

The Fund for Women Artists is founded on the belief that womenartists have the power to change the way women are perceived inour society. We want to make sure that artists have full access tothe financial and other resources they need to do this crucialwork. We focus mainly on women in theatre, film, and video, andwe have two main goals:

To Challenge Stereotypes - We challenge gender and other stereotypes by supporting the

creation and appreciation of art that reflects the full diversity andcomplexity of women’s lives.

To Increase Opportunities- We advocate for women artists to be paid fairly and to havemore opportunities to make a living from their creative work.

Fund for Women ArtistsP.O. Box 60637

Florence, MA 01062Phone: 413-585-5968 Fax: 413-586-1303

Kathie deNobriga

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With help from an Alternate ROOTS ArtisticAssistance Grant, I attended a five-day workshopentitled “Spontaneous Invention with Bobby

McFerrin” at the Omega Institute in Rhinebeck, NY. Thiswas for me, the opportunity of a lifetime; a chance tostudy with one of the greatest singers and vocal innova-tors on the planet.

Bobby McFerrin is a 10-time Grammy Award winner, arenowned classical conductor, and the creator of some ofthe nation’s most popular contemporary music. He is alsoone of my greatest role models, because he has created acareer that includes both performanceand teaching, in musical languagesthat reach around the globe.

Bobby McFerrin has a long-standingfriendship and professional collabora-tion with cellist Yo Yo Ma. They met ata time when Yo Yo Ma, coming from aworld of classical music, was explor-ing notions of improvisation, andBobby McFerrin, coming from theworld of jazz, was training himself toconduct symphony orchestras. Duringthis time, Yo Yo Ma went to Botswanato study and explore. He sent BobbyMcFerrin a video of himself inBotswana. Yo Yo Ma is introduced toa group of villagers. They greet him cordially, as theywould any visitor, and have no concept of his world fame.They are told, “Yo Yo Ma will give a concert tonight at7:30 in the community center.” They look puzzled. Theyask, “Why must we wait until 7:30 to have music?” and“Why do we have to go somewhere else to have music?”

This story set the mood for the week to come. Making ourlives a work of art, and using art to express the life of acommunity is deeply connected to Alternate ROOTS’ mis-sion and the work of its artists.

Bobby McFerrin brought 3 members of his groupVoicestra to assist with the workshop. The class was enor-mous, but the leaders made it work. The 168 participantswere of all levels, abilities, needs, desires and back-grounds. They traveled from Australia, Austria, Holland,Ecuador, France, Canada, Greece, Norway, Brazil and allover the United States to attend this unusual workshop.

Every session began and ended with a Song Circle:

The large group is divided into 4 sections, and each groupis given an ostinato part (repeated musical phrase). Thechorus slowly builds as each part is added. BMcF impro-vises over the piece, playing the chorus like an instru-ment, then, one by one, changing each group’s part to

create new harmonies, rhythms and textures. Participantsalso have the opportunity to conduct and create newparts.

For some sessions, the group was divided into 4 sections,with the instructors rotating to each group. In these small-er groups we did a myriad of vocal exercises, exploringconcepts of melody, rhythm, timbre (vocal color), intervalsand much more.

The five days of work were well balanced between hands-on musical work, large and small group activities and the

opportunity to ask questions and hearmore about Bobby McFerrin’s uniqueperspective on art, music and life.Here’s an anecdote about artisticprocess and performance, that I thinkwould interest ROOTers.

If the concert begins at 8:00 p.m.,Bobby McFerrin likes to arrive at thetheater at 7:59 p.m. He walks to thetheater singing. He enters the back-stage quietly, hangs his hat, givesthanks and walks out on stage. Thestage is dimly lit and the audience is inblack. He has no notion of what the firstpiece will be. He is turned totally inwardand begins singing, creating a piece

and developing it. During this first piece, he does notacknowledge the audience at all, but creates a space forhimself and the music that will become the concert. It isthe ultimate exercise in improvisation.

If you’ve ever heard Bobby McFerrin perform a solo con-cert, you have experienced his deep connection betweenaudience and performer. You not only have the feelingthat he is singing directly for and to you, but you actuallyhave the opportunity to sing with him. At least once heinvites a large group of people on stage to create a piecesimilar to the Circle Song described above. He also cre-ates pieces involving the entire audience, and even peo-ple who think they can’t sing at all, find themselves joiningin on outrageous musical masterworks. Bobby McFerrincreates the space in his concert for all to join him and feelexcited about singing.

Some examples of Bobby McFerrin’s daily work process:

* Sing as many sounds as you can on the same pitch for60 seconds. Increase to 2 minutes, then more as youbecome more comfortable. The pitch must remain con-stant as you try every vowel, every consonant, every tone,every color, every squeak, squawk and groan of yourvoice.* Improvisation is motion. Sing one note, then another.

artistic assistance Spontaneous Invention with Bobby McFerrinby Elise Witt

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Sing uninterrupted for at least 10 minutes a day. Increasethis as you get more comfortable with it. Uninterruptedmeans not stopping to think, not analyzing. Just singingand continuing to sing.

* Explore the physicality of your sound. Follow where yoursound resonates in your body. How can you change thatand play with it? How many different voices do you have?Where do they center?

* Try singing while lying down. This disorients us from our“usual,” our comfort zone. It also helps us feel full bodyresonance against the floor.

* Listen to many singers. Analyze their style and every-thing about how they sing. Throw everybody into yourears.* Spend a period of time not listening to any other.Concentrate on your own unique sound and all its possi-bilities without outside influences.* Learn a new piece by learning 5 measures a day. Spendyour entire practice time really learning those 5 measures,and then adding them to what you already have learned.

* When working on a new piece, learn all the parts begin-ning with the bass part, the foundation. Learn to sing thechord changes. What is each part doing in relationship tothe others?

Bobby McFerrin was quick to emphasize that this is hisprocess, not one he thinks everyone should follow. He

asserted that these are things that have worked for him,and that each of us must explore and discover our ownway.

What better training could one experience than to stretchboundaries, musical and otherwise, with a musician who,with only his solo voice, can sing an African choir, a Bachfugue or the entire score of The Wizard of Oz.? The deepknowledge and improvisational confidence I experiencedin Spontaneous Invention with Bobby McFerrin will affectall my work in the future, and will emerge in all myROOTS activities, from Rhizome to Taproot.

* Singer * Composer * Lyricist * Guitarist * Educator *Community Activist

ELISE WITT was born in Switzerland, raised in North Carolina,and since 1977 has made her home inAtlanta. She speaks fluent Italian,French, German, Spanish, and Englishand sings in at least a dozen lan-guages. Among her ancestors, Eliseclaims "Wedding March" composerFelix Mendelssohn and his grandfa-ther, Jewish philosopher MosesMendelssohn; Protestant cow farmersfrom northern Germany; Russianchemists; Polish intellectuals; FrenchBordeaux wine growers; a Britishpainter; and a great great aunt fromCuba.

AlterNet: WireTap Magazine(www.alternet.org/wiretap)

An online magazine by and for socially conscious youth, WireTap showcasesinvestigative articles, personal essays, opinion editorials, artwork and activistresources to give young people a voice in the media, thus providing a placefor a new generation of writers, artists and activists to network and organize.WireTap is a part of AlterNet, a project of the Independent Media Institute, anonprofit organization dedicated to strengthening and supporting independ-ent and alternative journalism.

Funders’ Collaborative on Youth Organizing(www.fcyo.org)

The Funders’ Collaborative on Youth Organizing (FCYO) is a collective ofnational, regional and local grantmakers and youth organizing practitionersdedicated to advancing youth organizing as a strategy for youth develop-ment and social justice. The mission of the FCYO is to substantially increasethe philanthropic investment in and strengthen the organizational capacitiesof youth organizing groups across the country.

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77 Federal Street San Francisco, CA 94107

Phone: 415-284-1420 Fax: 415-284-1414

Email: [email protected]

FCYOc/o Jewish Fund for Justice

330 Seventh Avenue, 14th Floor New York, NY 10001Phone: 212-213-2113

Email: [email protected]

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Who are we? About 20 NewOrleanians, from teenagersto elders, plus their parents,

spouses, little cousins, etc. — thecast and company of Dawgma, a newmusic theater piece.

What did we do? We created a newmusic theater play exploring the rootsof violence. Stylistically, it integrateselements of the African American,Greek and Brechtean choir (thinkGospel at Colonus meets TheMeasures Taken) with spoken wordpoetry and the unique music of NewOrleans. Picture onstage a total of 14people:

Two adults who act as the lead char-acters (“Dawg” and “Antagonist”)

Seven teens (“Choir”) who act as thesupporting characters and narrators

Five professional musicians in theBand, including a featured vocalist

The story focuses on one young mannamed David William Gaines (“Dawg”for short) who, in the aftermath of athoughtless violent act, must trans-form himself. We follow him as hejourneys to find a place where he canbe himself and a positive part of acommunity at the same time. Eachscene is a different environment(“Dawg Joins the Army,” “Dawg Goesto Wall Street,” “Dawg Goes toChurch”), a different antagonist (TheSarge, The CEO, Mother Glory) andfeatures a challenge for Dawg toovercome, often in the form of a song

(such as “Let Your Mind Be Free,”“One Helluva Nerve” and “L.O.V.E.U”).

The main musical sources are twoNew Orleans giants: pianist and com-poser James Booker and the SoulRebels Brass Band. When Booker(1939-81) played, “any and all songscould come from the notes, from theGodfather theme to the works ofErnesto Lecuona to Beethoven to therawest, gutbucket, junker blues ofback o’ town New Orleans, manytimes all in the same song.” The SoulRebels incorporate jazz/marchingband music, reggae, hip-hop, rap,funk and heavy metal. Both areincredible inspirations as sources formusic theater.

Musically, our task was truly challeng-ing: translate highly syncopated, com-plex arrangements for a band into anarrangement for voices - specifically,voices with very limited experiencesinging. This is where the amazingNatascha Bolden came in. Herunique range of experience as a per-former/arranger in many types of ven-ues (from church choirs to bar bandsto music theater), along with her train-ing as a psychologist and artist-in-res-

idence, came into play. Sheknew what it took to getthings done right, and shedid it with patience and enormous amounts of empa-thy.

Scriptwise, we began with avery basic outline of the story(provided by yours truly) andthe music we were going touse, and then went to town,together, over the course of 4months. Adults and teensworked side-by-side, to the

limits of their demonstrated ability andbeyond. There was Chris Williams,New Orleans spoken word artist andtouring music theater veteran creatingrhymes and Chandice Morgan, bud-ding Beyoncé, writing lyrics to a greatnew New Orleans song entitled “DoWhat You’re Told” that had everyonein the audience (many of whom wereeither combat veterans or currently inJROTC) singing about the rigors andrealities of military life for days tocome. ROOTers John Grimsley (Sets)and Diana Shortes (Costumes) werethe backbone of the technical aspectsof the production.

And working as the great conductorof our process: Lloyd Joseph Martin,Jr., well known to many ROOTers forhis work with Dog & Pony Theater,Carpetbag Theatre and JunebugProductions. Lloyd conceptualizedmuch of the staging, trained the teensin acting and interpretation, and con-ceptualized/wrote much of the scriptfor the Antagonist.

[Speaking of Junebug Productions, Iwant to acknowledge what an incredi-ble human/artistic effort John O’Nealmade as Lloyd’s understudy for theNovember 2004 workshop perform-ances. He set the pace for theyoung-uns, no doubt about it. It’s onthe record, O’Neal: I owe you bigtime!]

To sum it all up, Dawgma is off andrunning, and we have AlternateROOTS to thank for it. I believe thetime I had working on our newC/APP-funded play Dawgma is thebest time I have ever had making the-ater. To everyone in the cast andcompany of Dawgma, from the bot-tom of my heart, keep on being yourbeautiful selves.

by Matt Schwarzman

c/app report

From L to R: Lloyd Martin, Rodnekia Shelbia, NaderahMcCormack, Chandice Morgan and Chris Williams

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In Memoriam:

Lloyd MartinOn Friday, January 14th, 2005,actor, writer, director, youth edu-cator and retired physical thera-pist Lloyd Martin of New Orleanspassed away at the age of 45. Hehad been struggling with cancerfor more than a year.

Lloyd was one of those truly rare individuals, the kind ofartist/educator/activist who embodies the best in our field.As much at home singing, dancing and acting on the pro-fessional stage as wading through a collaborative creativeprocess with dozens of unruly teens, Lloyd was and willalways be an inspiration to anyone who knew him formore than a minute.

Under the headline “New Orleans Theater Loses One ofOur Best” (1/20/05), the Times-Picayune drama criticinterviewed over a dozen of Lloyd’s closest colleaguesand friends, each of whom extolled his creativity, determi-nation and range. “He was the best theatrical writer, oneof the best actors and most noble people I’ve ever hadthe honor to work with,” said longtime friend and col-league Donald Lewis.

Lloyd was part of severalAlternate ROOTS organiza-tions, including Dog & PonyTheater, JunebugProductions andCarpetbag Theater, andperformed his one-manshow “Blood” at theAnnual Meeting in 2001.He will be appearing in twoupcoming feature films,“Skeleton Keys” and “A LoveSong for Bobby Long.”

“I try to work with as many people aspossible, listen to as many voices as Ican, and make them all part of my world.Performing is a journey and sometimesyou are not sure where you’re going.Somehow, though, you always wind upsome place interesting.”

Lloyd Martin and Mat Schwarzman working on theC/APP Project Dawgma.

YouthActionNet(www.youthactionnet.org)

A dynamic website created by and for young people,YouthActionNet spotlights the vital role that youth play inleading positive change around the world. Launched in2001 by the International Youth Foundation (IYF) andNokia, YouthActionNet serves as a virtual gathering placefor young people looking to connect with each other —and with ideas for how to make a difference in their com-munities.

Youth Development and Research Fund, Inc.(www.ydrf.com)

In response to the need to reclaim the lost economic for-tunes of at-risk young adults, a multicultural group ofyoung professionals with expertise in youth programming,research and policy formed the Youth Development andResearch Fund, Inc. (YDRF). YDRF’s mission is toimprove programs, policies and opportunities for youththrough research, training and culture. YDRF takes theirprograms and strategies to juvenile justice systems,schools, community-based organizations, foundations, cor-porations and government agencies to help maximize suc-cessful outcomes for youth and youth service providers.

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YouthActionNet c/o International Youth Foundation

32 South Street, Suite 500 Baltimore, MD 21202 Phone: 410-951-1500

Fax: 410-347-1188 Email:[email protected]

YDRF, Inc.20405 Studio Place

Gaithersburg, MD 20886 Phone: 301-215-2566

Fax: 301-216-2307Email: [email protected]

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Most of us know the saying,“There are two things youhave to do in life; pay taxes

and die.” Some of us add a third obvi-ous one, “To stay black;” and for weartists and social change agents, “Toharbor change, justice, the arts andrevolution,” are the things we have todo in life. As the conventional wis-dom goes, the IRS seems to becomean inevitable player in our existence.Ironically, this obligation offers aninteresting perspective on how Ibecame the Founding Co-Artistic andExecutive Director of olive DanceTheatre, Inc.

This June it will be three years since Ilooked up the IRS’ automated tele-phone number to apply for anEmployer Identification Number (EIN)for a partnership called “Olive.” The 9-digit number arrived within 7 daysand we were open for business. LastMarch, Olive became olive DanceTheatre, Inc. a non-profit corporationin the Commonwealth ofPennsylvania. This spring, Co-Founder Raphael Xavier and I areworking out the final kinks of our cor-poration’s by-laws to once againapply to the IRS, this time for fulltax-exempt status.

Before any of theseformalities, howev-er, two artistsbegan to collabo-rate. Our firstproject was aseries of classes,free and open to thepublic, supported by aCommunity Traditions Mini-Grant from the Institute forCultural Partnerships. The classeswere not new - Raphael had beenteaching in Philadelphia for 5 years -but to offer them to the community forfree and to establish them as a com-munity tradition put a value on whatwas already in place, on what we do.In the spring of 2002, we premieredan evening length work: “olive.” Thiswork was made possible through an

artist’s residency at The CommunityEducation Center in WestPhiladelphia. We treated this residen-cy and premiere at a local communitycenter as if it were being held at theLincoln Center. Two weeks after thatshow, I called the IRS for a tax IDnumber. And now, three years later,we are a company with about 15 tour-ing engagements this year and 10part-time project-based staff. Wehave achieved some national recogni-tion and are beginning to apply formajor foundation dollars in hopes thatwe will be able to offer someone asalary in the next 3 years. In 2003,we performed at Kennedy Center…Lincoln Center, “Watch out now!”

The point of this introduction is thatour work preceded the idea of a com-pany. In high school economicsterms, need and demand must comebefore supply; in other words, thedemand or need from our community,along with the conviction that wehave something to say, generated thesupply or product that is our work;from outreach and mentoring to the-atrical productions. The company

becomes

the factory that is a vessel for us tomanufacture our product to meet theneeds of our community and to createa demand in the marketplace of theperforming arts.

This economic equation and mysomewhat obsessive explanationabout the IRS defines the bottom line:

if you want to be an Artist when yougrow up in the United States, youmust think of yourself as a small tocorporate business. Whether youwork as an individual or nonprofitorganization, you must strategizeaccordingly. But the details of runninga business should never substitute forthe art or compromise the quality ofthe product. These things, such assecuring an EIN or receiving tax-exempt status, are steps to gettingour voices heard; and, as the sayinggoes, are what we simply have to do.

olive Dance Theatre has come a longway; we have moved mountains as

an emerging company. This is onlybecause we have been

resourceful and not accept-ed the advice or inferior

attitude that we are anemerging company. Inthe beginning, we hadsomething to say and

still do; every other stepis just an effort to be

heard. Every artist, socialchange agent and arts organiza-

tion must remain connected to theirvoice; and stay true to the purposedriven by our missions.

As we continue to build and I reflecton the steps we continue to take tobe Artists - to have our voices heard -there are a few practices that areconsistent. I call them the olive DanceTheatre “Top Ten Steps” to gettingstarted, doing it right and keeping ourseed intact:

In the Beginning...There Is Your Voice. by Jamie Merwin

the details of runninga business should never

substitute for the art or com-promise the quality of

the product…

Jamie Merwin

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Partnerships - build from where, who and what is obvious and accessible.Maximize - each opportunity for exposure, press and audience. Recognize - the validity in what you do. Hip-hop is not just a contemporary global phenomenon; it is a folk tradition. Position - yourself and your work for everyone else.Research - local, city and state, regional and national. Be Present - pick up the phone and be at the table. Show up and ask for more. Feedback - request it, receive it and give it.Make the work first! - There is no chicken/egg syndrome in this world of social change.Be aggressive - don’t look for permission for what you want to accomplish, but do take direction from those who havebeen there. Community - we learn from each other. We have to trust that giving will open more doors for all of us. Share informa-tion, experiences, hesitations, mistakes and support.

[Jamie Merwin is the Founding Co-Artistic and Executive Director of olive Dance Theatre, Inc,“olive Dance Theatre presentsinterdisciplinary work steeped in and moving through African-American vernacular. Our mission is to validate indigenousAmerican Hip-hop dance forms, specifically Breakin’, through the creation of new dance theatre works and the perform-

ance of these works in the theatre domestically and abroad.Also, to educate our audience and communities with this form’shistory and proper technique; and by doing so provide an outlet,appreciation and future for artists and practitioners of this dance.We will mentor emerging artists with our own experience andremain committed to the growth and development of our artisticcommunities.”]

olive Dance Theatre43 North Wiota Street

Philadelphia, PA 19104Phone 215-386-1411 or 215-840-1350

Fax 215-386-0176 toll-free: 888-476-0380

[email protected]

Raphael Xavier, Founding Co-Artistic DirectoroLive Dance Theatre Inc.

Camille H. Shafer Scholarship for Artists with Disabilities

The Camille H. Shafer Scholarship for Alternate ROOTS Artists Members with Disabilities provides support to two indi-vidual artists and their attendants to the Alternate ROOTS Annual Meeting. Each scholarship covers registration, hous-ing and meals for the artist and their attendant. Individuals who receive the scholarships will be responsible for theirown travel.

Requirements

*Must be a dues paid member of Alternate ROOTS. (For membership information go to www.alternateroots.org)*Must live within the ROOTS regional service area: Florida, Mississippi/Louisiana, South Carolina/Georgia/Alabama,

Kentucky/Tennessee/North Carolina, or Maryland/District of Columbia/Virginia/West Virginia*Must be able to attend the entire Annual Meeting from Tuesday, August 9 through Sunday, August 14, 2005 at the

Lutheridge Conference Center in Arden, NC.

Procedures

Complete the application personally and answer all questions. (The application is available at www.alternateroots.org;or call 404-577-1079 to have a copy sent.) Submit your application to: [email protected]; or fax to: 404-577-7991; or mail to: Alternate ROOTS, 1083 Austin Avenue, Atlanta, GA 30307Applications must be RECEIVED in the Alternate ROOTS office no later than midnight on Friday, April 29, 2005 to beconsidered.

The selection committee will, in writing, inform all applicants of its decision between June 1 and June 15. If youhave questions regarding the application process, please contact the ROOTS office at 404-577-1079 or via e-mailat: [email protected]

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Keith Knight is a cartoonist and rapper based in San Francisco. His twoweekly comic strips, "the K Chronicles" and "(th)ink", appear in publicationsworldwide. His fifth collection of comics, The Passion of the Keef (Manic DPress), hits bookstores this spring.

www.kchronicles.com www.marginalprophets.com

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Alabama State Council on the Arts & Alabama Artists Gallery201 Monroe StreetMontgomery, AL 36130-1800334-242-4076Barbara Reed, Public Information Officer (x 223)[email protected] Clark, Visual Arts ProgramManager & Gallery Director (x 250)[email protected] www.arts.state.al.us

DC Commission on the Arts andHumanities410 8th Street, NW, 5th FloorWashington, DC 20004202-724-5613Mary Liniger, Arts in EducationCoordinatorwww.dcarts.dc.gov/dcarts/site/default

Florida Arts CouncilDivision of Cultural Affairs1001 DeSoto Park DriveTallahassee, Florida 32301850-245-6470Gaylen Phillips, Ph.D., ArtsAdministration Manager850-245-6482;[email protected] Barr, Individual ArtistFellowship Programs850-245-6356;[email protected]

Georgia Council for the Arts260 14th St., NW, Suite 401Atlanta, GA 30318Walton Ray, Grants Manager404-685-2797; [email protected] O’Flaherty, Arts Education Manager 404-685-2787; [email protected]

Kentucky Arts CouncilOld Capital Annex300 West BroadwayFrankfort, KY 40601-1980888-833-2787Amber Luallen, Community ArtsProgram Director502-564-5116; [email protected]

Louisiana Division of the ArtsP.O. Box 44247Baton Rouge, LA 70804-4247225-342-8180Dee Davitt Hamilton, ProgramDirector for Performing [email protected]/arts

Maryland State Arts Council175 West Ostend Street, Suite EBaltimore, Maryland 21230410-767-6555; msac@msac,orgBonita Bush, Program Director:Community Arts DevelopmentPamela Dunne, Program Director:Arts in Educationwww.msac.org

Mississippi Arts Commission239 North Lamar Street, Suite 207Jackson, Mississippi 39201601-359-6030Diane Williams, Arts Industry ProgramDirector/ADA Coordinator601-359-6529;[email protected] Shenefelt McCurtis, Arts inEducation Program Director601-359-6037;[email protected] Larry Morrisey, Heritage ProgramDirector601-359-6031;[email protected]

North Carolina Arts CouncilDepartment of Cultural ResourcesRaleigh, NC 27699-4632919-733-2111Stephanie Russell, Touring andPresenting Coordinator919-733-4150;[email protected]

Linda Bamford, Arts in Education Director919-733-9044 ;[email protected]

South Carolina Arts Commisssion1800 Gervais StreetColumbia, SC 29201-3585803-734-8696 Tom Bryan, Program Director forArtist Roster803-734-8765;[email protected] Green, Program Director forVisual Arts803-734-8762;[email protected]/arts

Tennessee Arts CommissionCitizens Plaza Building401 Charlotte AvenueNashville, TN 37243-0780615-741-1701Rod Reiner, Deputy Director615-741-2093; [email protected] Pietrantoni, Director VisualArts, Craft and Media615-532-9798;[email protected]

Virginia Commission for the ArtsLewis House223 Governor StreetRichmond, VA 23219804-225-3132Peggy J. Baggett, Executive [email protected] M. Krawczyk, Program [email protected]

West Virginia Commission on theArts WV Division of Culture and History The Cultural Center - CapitolComplex 1900 Kanawha Boulevard East Charleston WV 25305-0300304-558-0240Martha Newman Collins, Arts in Education [email protected] French, Arts Section Secretary [email protected]/arts

Applying to your local state arts agency for support may prove beneficialto bringing greater visibility to your work as an individual artist. In addi-tion to financial considerations,

these agencies can provide arts con-sultant services as well as a way togive back to your state. State artsagencies within regions served byAlternate ROOTS that maintain artistrosters, along with hopefully relevantcontact information, are listed below:

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Gregory AckerMeg Anderson

Caron AtlasDon AtwoodSteve Bailey

Bailey BarashRoe Bear

Beverly BotsfordStanlyn Breve

Eleanor BrownfieldElizabeth Bruce

Carol Burch-BrownJoanna May Burch-Brown

Linda BurnhamKarin Carlson

City of Atlanta Bureau ofCultural AffairsJaehn Clare

Stevens ClarkeArianne King ComerT. Allan Comp, PhD.

Community Foundationfor Greater Atlanta

Cece DaratanyVanessa DavisHasan Davis

LeAnn Davis LoughranDenise Delgado

Kathie deNobrigaJudith DeWitt

Chris DoerflingerMartha DonovanFelicia Dryden

Chip EpstenFred FischerTrina FischerJohn Francis

Lucinda FlodinRodger French

Lubo FundFulton County Arts Council

Fund for SouthernCommunities

Gwylene GallimardDr. Susan GlissonRodney Grainger

Jim GrimsleyWard HaarbauerBeth HeidelbergDr. Jean HeinrichRoger FriedmanKeith Hennessy

Jessica HirstColgate & Elizabeth Holmes

Lizz HolmesJudi Jennings

Rebecca JerniganJoy Jinks

Deborah KarpSaundra Kelley

Martha KeravuoriJoan M. Kerrigan

Mr. &. Mrs. James J. KerriganSheila Kerrigan

Linda KeslerKatie Kilborn

Ann KilkellyHank KimmelJohn Kramel

Miriam KrinskyJef Lambdin

Ann LawCornelia Kip LeeLinda Lee Alter

Robert H. LeonardJoan Lipkin

Frazer LivelyAmy Ludwig

Mary LuftMeg MacLeod

Dana MarschalkAmy Matheny

Jean-Marie MaucletShawna McKellarSuella McMillanSybil McWilliams

Starr MooreRosie Moosnick

Gayle Counts MorganLisa Mount

Ruth and James MountLuci MurphyLeslie Neal

Charles E. NoyesLinda Parris-Bailey

Andy (John A.) PerryDana Phelps-Marshalk

Ardath PrendergastRebecca Ranson

Glenis RedmondMagdalun Reed

Jessicca RobinsonSue Schroeder

Mat SchwarzmanCamille H. Shaeffer

Toni ShifaloS. T. ShimiHank Smith

Priscilla SmithBetty StricklandJhon StronksLisa SuarezJohn Talbott

Susan Taylor LennonAlice TeeterBetsy Teter

Amanda ThompsonCarol ThompsonDemetrius Trotter

Carlton TurnerDaryl Walker

MK WegmannAllen Welty-GreenClaiborne WhiteElaine Williams

Elise WittInge Witt

Frank WittowMark Wolfe

Shannon WooleyJames YatesEllen Zisholz

Supporters of Alternate ROOTS

The Shubert Foundation Nathan E. Cummings FoundationFord Foundation Georgia Shares

Alternate ROOTS 1083 Austin Ave, NE Atlanta, GA 30307 404-577-1079 404-577-7991 faxwww.alternateroots.org [email protected]

Artists,educators, and all who want to create change in the way we provide meaningful learningexperiences for our children, come explore the power and benefit of the arts as tools in the educa-tion of our children. Workshops, case studies, lecture/demonstrations, performances. Plus an intro-

duction and celebration of the Mekye Center’s I-Can model for equitable Special Education.

The Power of Arts in EducationAn Alternate ROOTS Regional Event in partnership with The Mekye Center and St. Joseph’s Historic Foundation

Saturday, May 28, 2005Hayti Heritage Center

Durham, NC

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UFTR [Winter 2005]