The Banff Center: November news from Theatre Arts

The Banff Center: November news from Theatre Arts

Featuring news about our new artistic director of Dance, a Robert LePage event at the Centre, two new workshops for 2015, with Crystal Pite and Companie Marie Chouinard, as well as other programs currently accepting applications.

Read on for more details and to find out how to apply!


The Banff Centre announces sessional artistic director of Dance

Internationally respected and critically acclaimed director, choreographer and dance artist Emily Molnar has been appointed sessional artistic director of Dance at The Banff Centre.

Find out more

Banff Talks: Robert Lepage on Creating Outside of the Frame

Join Robert Lepage for this special free talk in the Max Bell Auditorium at The Banff Centre on  Wednesday, December 3, 7:30 p.m.

Find out more

Call for applications

New! Morphing / Evolution

An encounter with Compagnie Marie Chouinard's creative universe

March 3 – 5, 2015

Instructors: Carol Prieur, Leon Kupferschmid,Lucy M. May, James Viveiros, Megan Walbaum

This 3-day workshop for professional dancers is an introduction to the basic principles applied and developed by the Compagnie Marie Chouinard. Senior dancers from the company will guide participants through exercises and explorations that awaken and refine spatial awareness, movement choices and connections by use of repertoire and choreographic systems.

Register by: February 11.

Register today!

New! The Craft of Embodiment

A creative process workshop with Crystal Pite

June 1 – 5, 2015

Program director: Crystal Pite, with Eric Beauchesne

Investigate the relationship between text and movement, story and the body, and explore a physical process that can deliver narrative elements and emotion. For early-to-mid career artists creating work for the stage, including choreographers, directors, playwrights, and puppeteers. No dance experience is necessary. Individuals and small collectives welcome.

Apply by February 25.

Apply now!

30th Anniversary Year!

International Voice Workshops with Richard Armstrong

Introductory: May 18 – 20, 2015

Advanced: May 22 – 31, 2015

The vocal training central to these workshops focuses on exploring and expanding range and character, and emphasizes good use of breath, body alignment, and physical grounding.

Apply by February 18.

Apply now!

Last call!

Theatre Production, Design and Stage Management Practicum Opportunities

From April 2015

Our practicum programs provide exceptional learning opportunities through the on-stage technical and design support of production residencies, the building of original physical productions, and the in-house creation of original main stage productions as part of The Banff Centre’s Summer Arts Festival.

Apply by December 10.

Apply now!


Other opportunities:

Martha Richards Joins Cabinet of US Dept of Arts & Culture

Martha Richards Joins Cabinet of US Dept of Arts & Culture

WomenArts Executive Director Joins Cabinet of U.S. Department of Arts & Culture

WomenArts is proud to announce that our Executive Director, Martha Richards, will serve on the newly formed National Cabinet of the U.S. Department of Arts and Culture as their Senior Strategist for Women Artists.  In that capacity she will be collaborating with other key leaders to expand our national conversation about the role of arts and culture in our communities and to make sure that women artists are fully represented.

It is important to note that the U.S. Department of Arts and Culture is a citizen-led volunteer initiative and not a government agency. The U.S. Congress has repeatedly failed to take action to support the arts in any meaningful way, allocating only one-hundredth of one percent of the federal budget to the arts.  In fact, the 2014 budget for the National Endowment for the Arts, including the funds for administration of the agency as well as for grants to artists, was only $146 million – $16 million less than it was in 1984.  When the numbers are adjusted for the thirty years of inflation since 1984, the 2014 budget was approximately $225 million less in buying power than the 1984 budget. Our government spends twice as much on war every day as it spends on arts for the entire year.

Since our legislators are moving backward, the U.S. Department of Arts and Culture has been formed to move us forward.  A visionary group of arts activists (including long-time WomenArts collaboratorArlene Goldbard) launched this bold initiative in October 2013 as "a people-powered department, founded on the truth that art and culture are our most powerful and under-tapped resources for social change."

The U.S.D.A.C. recognizes that artists have the problem-solving skills that our country desperately needs – imagination, creativity, cooperation, and empathy, and they are working to help people cultivate those skills and share them as widely as possible.

In Arlene Goldbard's moving speech at the inauguration of the first 22 members of the National Cabinet on November 17, she described various cultural policy efforts over the past 36 years, and then summarized our current situation with a quote from Deepak Bhargava, Executive Director of the Center for Community Change:

"There are only two kinds of power in America. There’s organized money, and there’s organized people. For the last thirty years, organized money has had its way with policy and legislation in our economy. The only possible solution to the predicament we’re in is that organized people find their voice and demand a different path."

WomenArts is proud to participate in the U.S. Department of Arts and Culture because we agree with this analysis.  We will never stop lobbying for more government support of the arts and more legislation to improve gender parity, but we have learned from many civil and human rights movements around the world and from our own work that substantial and lasting change can be built through grassroots organizing.

We started Support Women Artists Now Day seven years ago as a way of encouraging women artists to celebrate their successes and to claim their power to move towards a more equitable future. We will be reporting more on SWAN successes in the coming months, but it is already clear that our grassroots SWAN Day initiative is playing an important role in the growing world-wide movement for gender parity in the arts.


WomenArts encourages all of our members to become active in this exciting grassroots initiative.  There are several ways that you can participate in the U.S. Department of Arts and Culture:

  • Sign Up As A Citizen Artist – If you believe that these times call for a deep investment in creativity and imagination, sign up as a Citizen Artist.  When you sign up, you will be put on the mailing list to receive calls for creative action and opportunities to share your skills.  You do not need to identify as an artist or be a U.S. citizen to join.  To sign up, please visit
  • Apply To Be A Cultural Agent – The USDAC is accepting applications for its second cohort of Cultural Agents until Friday, November 21.  Cultural agents are responsible for organizing an "Imagining" in their community, i.e. "an arts-infused gathering in which a community envisions its ideal future and identifies creative tactics to get there."  Although Cultural Agents are not paid, they will receive 8 interactive training, coalition-building, and resource-sharing calls with the other Cultural Agents, the USDAC team, and invited special guests; one-on-one advisory calls with experienced organizers and facilitators; a shipment of USDAC stickers and buttons; and a modest budget for materials, space, and other expenses. It will be a great opportunity to serve your community and make strong connections with other arts activists.  The deadline for the current round of applications is Friday, November 21.  For more information, please visit:
  • People's State of the Union – From January 23-30, 2015, individuals and organizations will host cr
    eative gatherings with three main ingredients: art, food, and meaningful dialogue. They will gather stories about community events that reflect the State of the Union from their perspectives.  Some of the stories will be published online and some will be given to a diverse group of poets to shape into a collaborative State of the Union address which will be broadcast online.  If you volunteer to host a gathering, you will receive an online training in facilitating story circles and a toolkit to help you organize a successful event.  For more information, please visit:
  • Action Calls – From time to time, the USDAC issues Action Calls to everyone on their mailing list and social media networks to encourage creative responses to urgent issues or events, such as police demilitarization or climate change.  Artists are invited to create works on the theme and to share them on the USDAC website.  For more information, please visit

New Cabinet Member

Martha Richards

WomenArts Executive Director Martha Richards will serve as Senior Strategist for Women Artists on the newly-formed National Cabinet of the U.S. Department of Arts & Culture

Canadian Theatre Women Address Gender Inequality

The Playwrights Guild of Canada, in partnership with eight stellar Canadian arts organizations, has announced the launch ofEquity in Theatre, a new campaign to promote gender equity in theatre.

Led by Rebecca Burton of the Playwrights Guild and Laine Zisman Newman ofPat the Dog Theatre Creation, the Equity in Theatre team is planning a preparatory research study, a symposium to be held in Toronto in April 2015, a website dedicated to Canadian theatre women, live performance events, playreadings, and more.

They hope to foster national and international dialogue, develop social actions that will effect change, and generate greater visibility for Canadian women in theatre. 

They also want to draw attention to the systemic discrimination that still permeates the industry:

* Women are the majority of Canadian theatre school graduates, support workers, and audience members, but women hold less than 35% of the key creative jobs.

* Women are over 50% of the members of the Playwrights Guild of Canada, but they are less than 25% of the produced playwrights.  The numbers are even worse for women of color.

* The rates of women's representation in Canadian theatre have been regressing over time. 

The Equity in Theatre team includes Artists Driving Holistic Organizational Change, Associated Designers of Canada,Canadian Actors' Equity,Cultural Pluralism in the Arts Movement Ontario,Indigenous Performing Arts AllianceLiterary Managers and Dramaturgs of the Americas (Canada)Pat the Dog Theatre Creation, and the Professional Association of Canadian Theatres. Jennie Egerdie will assist Rebecca Burton.

You can follow Equity in Theatre on Facebook or on TwitterA website is coming soon!

Everyone Is Invited to Celebrate SWAN Day!

Support Women Artists Now Day/SWAN Day is a grassroots "do it yourself" holiday, and everyone is invited to join us in honoring women's creativity. The official date for the 8th International SWAN Day is Saturday, March 28, 2015, but please feel free to celebrate it any time during March or April that is convenient for you. The spirit of SWAN events is far more important than the exact dates.




TEH Newsletter 2014 No. 7

TEH Newsletter 2014 No. 7

Dear artists, activists, squatters and dreamers, 

In this new issue of the TEH Newsletter we bring you lots of references to independent cultural centres: we welcome the six new TEH members and thanks to a collaboration with 2ème Lieu we present fourcultural centres from Colombia.

Secretary General Birgitta Persson was invited as speaker by the Foundation Center for Contemporary Art (CSM) to Kiev, Ukraine. There she met the team of Izolyatsia in exile and brought some fresh news about their current situation.

Finally, if you are looking for an interesting reading for this Christmas, check the new publications of the Spaces Project: "The status and challenges of the Independent Cultural Actors in Armenia, Georgia, Moldova and Ukraine" (also available at TEH Resource) and "Cultural Public Sphere".

We hope you enjoy it all.

Best regards,

José Luis Rodríguez and Birgitta Persson.

Trans Europe Halles Coordination Office.

Lund, Sweden. 


TEH Lecture at Foundation Center for Contemporary Art (CSM)

TEH Secretary General Birgitta Persson was invited to hold a lecture called “Factories of Imagination – Do It Yourself” to an audience of invited cultural operators, architects and urbanists in Kiev last week. The lecture was organised as part of the Spaces project about art and public space in Armenia, Georgia, Moldova and Ukraine. The case studies of a selected number of TEH members and their stories proved inspiring for the participants who wondered what to do with the many abandoned factory buildings in the countryside in Ukraine. 


Birgitta also met with the Izolyatsia-team who operates in exile from Kiev and was guided around the premises as well as to other contemporary art centres in Kiev like Pintchuk Art Centre and theArsenale by Izolyatsia’s TEH-delegate Mykhailo Glubokyi.


Izolyatsia cultural centre in Donetsk is still occupied by the Donetsk People’s Republic (DPR) who has started to use the buildings – up to recently famous for presenting new and contemporary art exhibitions and film documentaries for a mixed audience – as a prison. Even though the Izolyatsia team of course dream of to being able to come back one day and run the centre again and also maybe be able to save some of the art pieces hopefully remaining in the building, the team has managed to build up an array of new and interesting artistic activities spread out in the streets and parks of Kiev.


The new “Izo” resides in a couple of rented spaces in a boat building factory just by the Dnepr river in the historic district Podil close to metro station Kontraktova Ploscha. Here they share the entrance with factory workers and the factory restaurant serves daily a nice selection of Ukrainian dishes for both factory workers and artists. Currently several spaces are being renovated and turned into exhibition halls and studios by the team. The Fab Lab of Izolytsia in Donetsk is about to resurrect in Izolytasia Kiev, despite the fact that only few parts of the machinery was rescued from Donetsk. Plans for a terrace by the river and a separate entrance for the audience are soon to be realised.


Despite an extreme situation of war and conflict with no immediate solution at hand, Izolyatsia has managed to adapt to an extremely turbulent situation. Within a few weeks of being forced out of their centre in Donetsk, they continued their work with supporting artists and producing artistic activities from Kiev. 



6 new members were approved during TEH Meeting 78

During TEH Meeting 78 hosted by JOHAN centrum (Pilsen, CZ), six cultural centres from three different countries –France, Denmark and Luxembourg– were approved as TEH Members. Welcome to the network! 

Den Ny Maltfabrik 

Ebeltoft, Denmark

Some years ago, the red industrial building –dating back from 1861– in Ebeltoft was to be torn down and replaced by a modern city mall, but a group of passionate local culture and business people raised money to buy the factory and start a cultural centre in it. 

Read more…

Le Confort Moderne 

Poitiers, France

Le Confort Moderne, under the management of the L'Oreille est Hardie association, has been engaged since 1985 in the creation, production and diffusion of original works of contemporary art, music and trans-disciplinary experimentation. 

Read more…


Lille, France

L’hybride is a cultural and innovative venue located in the center of Lille in a former car repair shop. It stands out thanks to an eclectic programme that explores independent audiovisual creation: short films, animation, interdisciplinary forms and digital arts, independent full-length films, workshops 

Read more…

Le Plus Petit Cirque du Monde 

Centre des Arts du Cirque et des Cultures Emergentes. Bagneux, France

Le Plus Petit Cirque du Monde was established in 1992 in Bagneux (southern suburbs of Paris) by inhabitants who wanted to offer circus workshops to the kids of the area in order to improve their daily life. Currently a new wooden building is being constructed to host a big circus hall of 600 sqm and 28 meters high. 

Read more…

Prabbeli / Cooperations 

Wiltz, Luxembourg

The name "Prabbeli" was given to the cultural centre because of the spectacular pyramid roof construction of the building –an old brewery–, but its name also stands for the need to foster the broadest possible participation on the part of the inhabitants of the region. 

Read more…

Collectif Tomahawk 

Querrien, France

TOMAHAWK is a an artist's collective based on a 22 hectare farm in south Finistère (Britanny, France). Their core objectives include the diffusion and promotion of independent artists and the optimization of musicians' resources. 

Read more…


Bakelit (Budapest, HU) 

Bakelit Multi Art Center proudly presents the I. Hungarian Contemporary Dance Festival at DOCK 11 in Berlin from 15 to 21 December 2014.

The festival will internationally showcase outstanding Hungarian contemporary dance's great variety of genres whilst also strengthening cultural cooperation and mobility between Berlin and Budapest.

Read more…

Tomahawk Collective (France) 

Every year Tomahawk Collective organizes a festival that gathers popular music bands, street arts troops, an art and crafts market and a citizen's forum that brigs together around thirty associations to debate about sustainable development and ecology. 

Tomahawk Collective invites other TEH members to participate in the festival by sending artistic proposals (circus, visual arts, performance…). 

Contact Tomahawk

Pro Rodopi Art Centre (Bulgaria) 

In the summer of 2014 Pro Rodopi Art Centre has launched its first own studio in Bostina. Hip-hip-hoorey! The first project held there was the residential project: American Silence, a collaboration between North American (Philadelphia) and Bulgarian artists.


The main building of PRAC is still in very poor contidions and not in use, but activities in the centre are significantly increasing, including including the International Performing Arts Festival Adults Forbidden for kids and young audiences that took place in October. 

Learn more about Pro Rodopi

Antic Teatre and Vyrsodepseio 

The two TEH members Antic Teatre (Barcelona, Spain) and Vyrsodepseio (Athens, Greece), are working together in a cross-border engagement and cultural co-operation programme, as part of the project cav_a, Catalan artists visiting Greek Artists. 

The project consists of two performances of the Catalan artist Pere Faura at Vyrsodepseio and other activities, like meetings with Greek artists and artists-audience after talks, which will be taking place from December 18th to 19th. The second part of the exchange will happen at Antic Teatre on February 2015. 

Read more…


Collaboration with 2ème Lieu 

Starting with this edition of the TEH Newsletter and until June 2015, Trans Europe Halles collaborates with the organization 2ème Lieu to present the experiences of independent cultural centers in South America. 


2ème Lieu is a French non-profit organization which believes that independent cultural centers are essential sources for individual imagination and collective prospects.


Read more..


During 2013, 2ème Lieu visited 17 independent cultural spaces in South America and interviewed their managers and leaders about eleven different topics related to the management of their centres, paying special attention to issues such as sustainability, territorial integration, communication, etc. 

In this newsletter we are happy to bring you four independent cultural centres from Colombia. This country has a vibrant civil society that is playing a crucial role in strengthening democracy and encouraging peace after years of war and violence. Independent cultural initiatives have proliferated in Bogota and Medellin, and embody the "movida" that generates cultural alternatives to traditional folklore and inherited narco culture from last decades. 

La Redada 

Bogotá, Colombia


The name of the centre –"redada" means raid– is a reference to the activist spirit of the people managing it. “Do-it-yourself” and independence are the philosophy leading this collective experience in which several groups co-run the center without any legal status. 


Watch video


A Seis Manos 

Bogotá, Colombia


A seis manos brings together food and culture. Between tasty and reasonable menus mixing Colombian food with the French touch –2 of the 3 funding partners are French– , people are invited to enjoy a concert, a film or discover a photography exhibition in the art gallery. 


Watch the video


Proyecto Casa B 

Bogotá, Colombia


The “B” is for Belen. Indeed, the three young founders who established this cultural center have one single goal: revitalize the district of Belen, stuck on the symbolic border between rich northern districts of Bogota and the huge and poor southern districts of the 10 million inhabitants city. 


Watch the video


Corp. Cultural Nuestra Gente 

Medellín, Colombia


This multidisciplinary centre –located in a former brothel in a district undermined by poverty and violence– focuses its activities on community emancipation throu art and culture. With a more than 20 year history, Corporación Cultural Nuestra Gente is well known in Medellin.

Watch the video


New publications by the SPACES Project 

SPACES has recently presented two publications: Imaging the Public is a policy paper that brings together experiences of independent cultural actors in Chisinau, Kyiv, Tbilisi and Yerevan. And Cultural Policy Sphere is a catalogue of the activities of the three-year project. Further read below.

SPACES is a three year project (2011-2014) that promotes artistic and cultural action in public spaceand the recuperation of public spaces for art and culture throu participatory art events in public spaces inArmenia, Georgia, Moldova and Ukraine. Processes of networking, social research and policy debates accompany the in situ events.

In the frame of SPACES, the team of curators invited artists to develop interactive projects in Chisinau, Kyiv, Tbilisi and Yerevan, with the aim to enhance civil society processes, reconsidering public space as a place for free expression, social encounter, shared responsibilities. The SPACES interventions dealt with past, present and imagined futures of spaces and cities, succeeded to change the rhythm of the city, made private acts public, irritated – all against the background of the burning question: How far can the citizen get actively involved into current political discourses? 

The Status and Challenges of the Independent Cultural Actors in Armenia, Georgia, Moldova and Ukraine 

This cultural policy paper is the result of three 

years of policy research. It traces and maps independent cultural actors and emerging contemporary cultural and artistic practices in Chişinau, Kyiv, Tbilisi and Yerevan, and invites the reader to explore this new, dynamic cultural field. 

Download the book

Cultural Public Sphere 

This publication explores the development of a cultural public sphere in Eastern Europe. Framed by reflections on the past, it invites the reader to follow the contemporary experiences of the project SPACES – Sustainable Public Areas for Culture in Eastern Countries which were developed in Armenia, Georgia, Moldova and Ukraine from 2011 to 2014. 

Buy the book

OPPORTUNITIES – Provided by On The Move 


CEC-ArtLinks: Independent Projects Awards 2015 for Artists & Arts Managers from Eligible Countries

Festival Belluard Bollwerk International & Migros Culture Percentage (Switzerland) > Call for projects "Fortress Europe"

British Council: ELEVATE Startwell™ Challenge > Open call for applications (UK and East Asia)

COAL Prize 2015: Art and Environment

For more funding opportunities please visit On The Move website


ANTI – Contemporary Art Festival (Finland)

The Public Domain: Season 2 > Open call by the Delfina Foundation (UK)

La Bécquée: European Contemporary Dance Festival > Call for applications

Cultural Fellowships in Russia

For more calls, please visit On The Move website. 


Swedish Institute: Young Leaders Visitors Programme

European Diploma in Cultural Project Management 2015/2016

For more training, please visit On The Move's website


The Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden> Five Artistic Professors needed!

For more job opportunities, please visit On The Move's website. 

Patricia Ariza’s Acceptance Speech – 2014 Gilder/Coigney Award

Patricia Ariza’s Acceptance Speech – 2014 Gilder/Coigney Award

On October 27, 2014, Patricia Ariza (Colombia) received the 2014 Gilder/Coigney Award for excellence in theatre, presented by the League of Professional Theatre Women’s International Committee. Please look below for her acceptance speech, translated in both English and Spanish.

Learn more about the LPTW’s Gilder/Coigney Award

Learn more about the LPTW’s International Committee

Patricia Ariza Acceptance Speech
October 27, 2014
English Translation by Juanita Lara

This award holds a deep significance for me, for my company and for the Woman’s Peace Movement, of which I am a part.

It is significant because it comes from the U.S., an enormous and powerful place in the world, full of contradictions but also a place where there are lots of beautiful and democratic peoples like the artists and activists in the League of Professional Theater Women that through their art and activism, everyday invent new ways to communicate with the world.

I am honored to receive this award because it comes from the women who are, we are, a humanity that has launched a peaceful revolution and has challenged the world to doubt patriarchal dogmas that support neocapitalism and its cold and arrogant belief that money, war and arrogance can sustain an absolute power over this world.

This award is significant too because it is the first time that a woman from Latin America is its recipient, like me who has never hidden her ideology or my passion for transformation of this world through art and culture.

I have a profound belief that everything we humans have done or made, can be changed by us too, because we are doing it now.

We are returning to their rightful place, the overriding values of life and culture. It’s these values that need to return to the center of large utopias.

We must return to work on our most beautiful and ambitious humanitarian dreams, like those ideals of justice for all, much like the ethics of women who has taught us how to care for mankind.

We must convince ourselves and persuade others to believe a just and democratic world without invasions, wars and patriarchy is possible.

I also believe in art and theater, and through this art unlike any other, can contribute to changing the perception of the audience if the inalienable right to say the truth on stage is reclaimed.

A profound truth through beauty and art that is born from the depths of society and is emitted through the hearts of the performers.

Women have not had the best place in this world, nor in theater, for centuries, for millennia we have been denied a voice and a presence on stage, unless they were sewing the costumes onto the actors, who represented the powerful, the nobility, and at the same time, this was a drama in itself sentencing women to be courtesans and cinderellas. These roles do not end here, for we see them all too often in these same roles in commercial theater.

The time has come for us to reenter the stage but in a different way, to invent a new theater space large enough for our whole body and our entire history. Just as Virginia Wolf suggested in A Room of One’s Own, we need a stage of our own, large enough for our whole body.

Because it is not enough to reenter the stage and represent women, we need to be able to create a different kind of theater that contributes to the demolition of the patriarchy.

That is why some of us in Colombia have The Festival of Women on Stage, where we all fit and where our theater emerges with a devastating force a different relationship between the private and the political and the public with the intimate.

It is a privilege for someone who thinks this way to be honored with such an award, and I am grateful.

I know many of the nominees and I would like them to know that I am incredibly humbled because any of them would have deserved this.

But it is a good thing that a woman from Colombia has received it and I am here with all the dignity that 49 years of working in theater has bestowed on me, throughout everyday of my life, having founded La Candelaria theater company alongside Santiago García, and a theater movement that brought together some of the most vigorous and committed performers in Latin America.

I am Colombian to the marrow of my bones, and this means that I am from a country that has a name of a dove but that is not at peace, a country that continues to battle against an old social and armed conflict, accumulated though decades and never resolved and the ever present hope for peace. I am a political activist and this brings me incredible joy because I stand alongside my fellow laborers and students from my country who fight everyday for access to land and education. And I am part of the Women’s Social Movement, and Women for Peace.

I stand here before you on stage to petition all U.S. women to join us in our search for peace through theater and art.

Thank you to the League of Professional Theater Women here in U.S., a country home to patriarchs and warriors, is too the country Emily Dickenson and Silvia Plath called home, the country with an 8 hour work day and a country that has shown me the bright side of New York, the illuminated side.

Getting to know the members of the League has been for me the greatest gift of my life. To have recognize
d the immense effort we do in Colombia to keep the theater open, producing original works of drama and building a public following that has always accompanied us, this is not a solitary act, and this is known and understood around the world.

To work with victims like us, we work together with Carlos Satizábal (la Corporacion de Teatro), this is not an isolated act because women who create inhabit the heart of the empire, and they listen to the voices from those of use who live on the other side of the world. And who are, as García Márquez would say, listening so that we do not continue to condemn ourselves to live another hundred years of solitude.

I would like to dedicate this award to my theater company La Candelaria, The women laborers of my country who are a prime example of struggle and dignity and to my extended family, who are, in addition to my brothers and sisters, my theater colleagues, my colleagues at the CCT, my feminist friends and all who at this very moment, dialogue for peace.

Naropa University: Announces a vacant position for Chair MFA Theater Program

Naropa University: Announces a vacant position for Chair MFA Theater Program

Job Description


Position Title: Faculty Chair MFA Theater: Contemporary Performance Program

Job Code: FAC01

Department or School: School of the Arts

Reports to:  Dean of the School of the Arts

FLSA Classification:

Pay Rate: $46,000 – 48,760, depending on rank

Rank: To be Determined

HR Review Date:

Job Summary: Naropa University is searching for a Faculty Chair of the MFA Theater: Contemporary Performance program entering as a full time faculty candidate with a 3 year contract, renewable upon review. We seek a visionary individual with the ability to manage a program of two MFA cohorts, four core faculty and yearly guest artists. The Faculty Chair must be deeply committed to Naropa’s mission and vision of contemplative education and to mentoring the next generation of innovators and practitioners of contemporary performance. They must be able to clearly articulate the unique and cutting edge training that is developing in the MFA curriculum and effectively lead our MFA to the next level of national and international recognition. This is a full time position starting July 1, 2015.



•      20 credit load combining teaching courses in the MFA, and administrative Chair duties.

•      Mentoring and Advising – the Faculty Chair is responsible for the oversight of each student’s journey through the MFA curriculum. This includes guiding faculty in their mentoring and advising roles within the program.

•      Manage all aspects of production in collaboration with the Office of Events, MFA Production Coordinator and MFA faculty.


•      Planning and implementation of the interdisciplinary MFA curriculum in collaboration with MFA faculty and the Dean of the School of the Arts

•      Attend and actively participate in committees and meetings at the program, school and University level commensurate with Full Time Core Faculty employment outlined in faculty handbook.

•      Assure the delivery of curriculum including: course syllabi, assessment of training module content and its delivery, and course schedule management.

•      Develop and oversee curriculum assessment and design and community building in collaboration with MFA faculty and the Dean.

•      Collaborate with offices of Marketing, Admissions, Development, and Academic Affairs in support of the MFA in these areas.

•      Collaborate with School of the Arts Dean regarding budgets and staffing.

•      Program budget development and oversight: Instructional, Operational, and Student Fees/Production budgets.

Minimum Qualifications: 

•      Qualified candidates will possess a Master of Fine Arts or Doctorate degree in a Contemporary Performance-related field (Acting, Directing, Performance Studies, Dance or Movement Studies) or consistently demonstrated leadership in the performing arts within an academic setting.

•      Minimum 5 years of successful university level teaching in performance techniques directly related to the MFA’s aesthetics and interdisciplinary, physical pedagogy.  The program especially seeks expertise in the area of physical actor training, Viewpoints, Suzuki and/or academic credentials in the area of Performance Studies, critical theory and context.

•      Commitment to graduate teaching and mentoring in an experimental conservatory and contemplative education setting.

•      Successful applicants will be familiar with contemporary arts trends, issues, theories and methods, and demonstrate teaching experience informed by contemplative practice.

•      Demonstrated ability to collaborate with others in an administrative and leadership capacity.

•      Familiarity with the vision and mission of Naropa University and the MFA Theater: Contemporary Performance program is preferred.

Preferred Qualifications

·      Demonstrated ability to provide at least one element of physical studio training at a graduate level and/or qualified to teach critical theory, history and context based on a graduate degree in this area.

•      Demonstrated ability as a teacher in contemplative education. 

Applications: Application review begins December 15th and continues until position is filled. Qualified candidates should apply online and include : Curriculum Vitae, one page Teaching Philosophy, three professional references, and digital representation of work (e.g. website, portfolio, publication links, etc.).

Naropa University is actively engaged in creating an inclusive, diverse community and is proud to be an Equal Opportunity Employer. In keeping with our diversity initiatives, we encourage applications from persons of historically under-represented groups and those who support diversity.


3. Mid Atlantic Arts Foundation – USArtists International – Guidelines – Baltimore, Maryland

USArtists International Guidelines
The application deadlines for USArtists International (USAI) 2015 grant rounds are:
> CLOSED: September 5, 2014 for projects taking place between November 1, 2014 and October 31, 2015.
> December 5, 2014 for projects taking place between March 1, 2015 and February 29, 2016
> April 17, 2015 for projects taking place between July 1, 2015 and June 30, 2016.

Guidelines are available below:
Download USAI Guidelines (pdf)
To access the USAI online eGRANT application click here.


4. An Opportunity for US and European Professionals in Arts and Culture:Cultural Fellowships in Russia 

CEC ArtsLink is pleased to share with you the request for fellowship applications by our Russian colleagues at the Likhachev Foundation. If you are interested in applying, review the information below and respond directly to the competition coordinator, Elena Vitenberg, and The subject line should read “Application for the Fellowship”. Please note that CEC ArtsLink does not administer this program and has no hand in the selection process. 

The Likhachev Foundation (St. Petersburg, Russia) and the Fund of the First Russian President Boris N. Yeltsin (Moscow, Russia), with support of the Committee on External Relations of St. Petersburg, announce a competition for 2-week cultural fellowships in St. Petersburg on  May 11-24, 2015.
The application deadline is February 1, 2015.  The Likhachev Foundation will accept applications from the US and European professionals in the fields of culture, history and arts who are working on creative projects related to Russian culture or history. Command of the Russian language is very helpful but not required. Students are not eligible. Working languages of the program are English and Russian.
Creative project could be a museum exhibition, a theater performance, a film, photo exhibition, preparation of fiction or research books, etc. related to Russian culture or history. Creative project should be conceived in the USA or Europe for a broad American or European audience. Residence in Russia should serve as an important stage in the realization of the applicant’s cultural project.
The Likhachev Foundation will prepare individual programs for the fellows according to their projects’ specifics, to help them achieve maximum results during their fellowships. These programs will include meetings with Russian colleagues, possibilities to work at St. Petersburg museums, libraries, archives and other organizations.
Ten two-week fellowships will be organized on May 11-24, 2015 in St. Petersburg, Russia.
Deadline for submitted applications is February 1, 2015.
Applicants will be notified by March 1, 2015.
Application should include : 

  • CV (including information on Russian language skills, previous creative projects related to Russia and previous visits to Russia).
  • Description of creative project (up to 3 pages) such as museum or exhibition project, theater performance, film, preparation of fiction or research book and other types of cultural projects related to Russian culture or history. It should contain, in particular, a paragraph on how a residency in St. Petersburg will benefit the applicant’s creative project and which cultural organizations in St. Petersburg the applicant would like to work with. 

Email your application in Russian or English to the competition coordinator Elena Vitenberg and with subject line «application for the fellowship».   

The D. S. Likhachev International Charitable Foundation

B. Yeltsin Presidential Center

Committee on External Relations of Saint Petersburg

GETIndia 2015. We are getting ready!

 GETIndia 2015. We are getting ready!

Global Empowerment Theatre is excited to announce that our 2015 GETIndia program will kick off this coming January in partnership with the Akanksha Foundation in Mumbai. The Akanksha Foundation has been providing opportunities for youth in Mumbai and Pune for over 20 years. 
We look forward to sharing the stories of these incredible students as our program gets underway this January.

To learn more about our GETIndia 2015 partner, The Akanksha Foundation, visit their website here.

"Imagine a world where we think beyond ourselves, so that the world we create is kinder, more forgiving, more gentle…I wonder what the world would look like if it was easier to give than take, easier to share than hoard, easier to be good than not. I wonder what the world would look like if we learned more from our children." 

– Shaheen Mistri, Founder of Akanksha

Stay tuned for a very exciting announcement from these alumni.

“We don’t get to discuss exactly how we can improve the situation in Zanzibar or Tanzania. We don’t get that opportunity in school. The GET program was a place where we could discuss problems and solutions.”

 If you would like to support GETheatre's work with Akanksha and our expansion to work with young girls in Kenya please click the donate now button to make a secure tax deductible donation through Artspire, our fiscal sponsor.

Donate Now

Bond Street: Fall-Winter Newsletter

Bond Street: Fall-Winter Newsletter

We are happy to announce two new projects in Afghanistan, share news on our ongoing programs, and bring you info on upcoming events.

  • Youth-led community improvement in Afghanistan – an innovative new project to engage youth in designing and leading creative community projects, culminating in a nationally televised competition! 
  • Women's prisons in Afghanistan – a creative arts program offering emotional support to incarcerated women, most of whom are in prison unjustly.
  • Peace project in Myanmar – engaging youth in conflict prevention in the wake of widespread ethnic tensions.
  • Bond Street receives an Otto Award and other international updates.

   Follow us on Twitter for latest news. 

   Check our blog for updates from the field.

   Join us on Facebook for our weekly photo feature. 

 In the face of global challenges, Bond Street Theatre continues to bring creative, humanitarian assistance to troubled communities around the world… thanks to you!  Your support makes our work possible.  

Youth Design the New Afghanistan

Creativity in Action 

This month we begin a major new initiative in Afghanistanto engage youth in creative and constructive activities that will improve their communities and counter violence. 

The project gives Afghan youth the opportunity to be agents for positive change in their communities and country. The recent election saw a huge turnout of new young voters; we're keeping the momentum going with a new project to inspire youth to action. The two-yearCreativity in Action project will involve 375 youth from 25 provinces across ethnic, religious and gender lines.

Focusing on marginalized youth, we will provide mentorship and training in creative problem-solving, communication, planning and leadership. Theatre and visual arts activities stimulate the imagination and foster new ideas. The youth will design their own projects and practical solutions to community issues. Groups from different provinces will meet to exchange ideas, learn about each others' communities, and compare action plans. A social media component will allow the groups to stay in touch, continue relationships, and share ideas.

The project culminates in a nationally televised presentation — a cross between TED TalksandAfghanistan's Got Talent — in which the best community projects compete for the nation's vote! The innovative community ideas will serve as models and inspiration for their peers around the country.  

The project builds on Bond Street's 12 years initiating creative community programs in Afghanistan.

Support for Women in Afghan Prisons

Creative Arts Prison Program

We are pioneering a new program in Afghanistan's women's prisons that addresses the emotional and motivational needs of incarcerated women. The first of its kind, our Creative Arts Prison Program will provide women in the Herat Women's Prison with creative, educational programs that build self-esteem, encourage self-expression, and improve their ability to speak out against injustice

Most of the women — 95% of young women and 50% of adult women — are in prison for violating social and moral codes, such asescaping domestic violence, running away from a forced marriage, or being a victim of rape. Most have faced debilitating violence and injustice.

The goal is to create a self-sustaining drama and storytelling group in the prison, run by the women themselves, through which they can share experiences and emotional support. The women will gain the confidence to cope during their incarceration and better manage their lives upon release. 

Young children are often incarcerated with their mothers. Although this is emotionally beneficial to mother and child, prison can have lasting traumatic effects on children. Our project will provide the active, creative play necessary for the children's proper development.

We begin this model program in Herat this spring. Our goal is to incorporate the program into the rehabilitative process in all women's prisons across Afghanistanas we continue our commitment to theatre for social justice and new creative outlets for women.  

We thank Dining for Women for their dedication to women's rights and generous support.

Myanmar: Challenging New Freedoms

Youth Initiative:

Theatre for Civic Engagement .

Thanks to the Open Society Foundation,Bond Street is conducting a project to engage youth in conflict resolution, in collaboration with Thukhuma Khayeethe, one of Myanmar's most outstanding theatre companies.  

Burmese youth are facing a critical juncture as they come of age in a changing political environment without the education to understand their role and responsibilities in a free society. In addition to the ongoing ethnic violence that has plagued Myanmar, recent Buddhist attacks on the minority Muslim population has added to the problem, while the country seeks to gain global acceptance.   

With the actors and directors of Thukhuma Khayeethe, we developed a play, Swamped,addressing issues of diversity and mutual respect. The play poses questions about personal and group responsibility, cooperation, and decision-making through the metaphorical lens of animals in a swamp. The play ends without a solution, compelling audience members to consider and discuss their own ideas and solutions to ongoing problems of sectarian and ethnic tensions and violence.

Swamped was performed at monastery schools in Pakokku, a region in Myanmar known for civil and religious activism and influence.  

 TK's Artistic Director Thila Min said, "Our goal is to give the audience ideas to consider and an understanding of the consequences of actions." Using a simple, comedic story about animals was a useful way to get audience members to consider their individual opinions, a concept that has been limited by years of restrictive military rule. 


In the next phase of the project, TK will train a group of youth in Yangon in theatre and problem solving skills. The youth group will create their own play about mutual acceptance, and tour their show to schools and centers to initiate dialogue about peaceful coexistence. 

 Around the World…

Kenya – Bond Street Theatre will begin a program in the Kakuma Refugee Camp in Kenya, the largest refugee camp in the world, serving displaced Somali and South Sudanese refugees. The project is led by Kenyan native and Bond Street intern from Columbia University, Jessica Hodder.

Sweden – Bond Street Theatre is collaborating with Simorgh Theatre of Afghanistan and Teater DOS of Sweden to explore the challenges facing refugees and the host communities they impact. Anna Zastrow of Bond Street and Monirah Hashemi of Simorgh will work with Swedish colleagues and the diverse local communities to create a production exploring cultural differences, commonalities, and routes to mutual acceptance..

USA – We are proud to announce that Bond Street Theatre has been awarded the 2015 Otto René Castillo Award for Political Theatre. We are honored to join the multitude of talented past recipients, including Laurie Anderson, The Living Theatre, Joseph Chaiken, and others!  

Between the Seas festival: Call for Submissions and BTS news

Between the Seas festival: Call for Submissions and BTS news

After a much needed break and some time for thinking, planning and dreaming of the future, Between the Seas is back!

We have launched our call for submissions for Between the Seas 2015. Breaking slightly from our previous years' tradition, next year we will hold BTS in September (7-13th), at our Wild Project home. We are inviting submissions in three categories (young artists/new works; main program; new plays) and the deadline is January 15. As with every edition, we hope to bring back some of our favorite artists from past years and welcome new ones! For questions and more information artists can write to:

The Sacred Way, by Unguarded Collective

Abandon The Citizens

Keeping with our vision to expand our activities beyond the annual festival, this Fall, we initiatedThe Testimony Project a workshop exploring testimony in performance. We are bringing together artists and projects that we have already established a relationship with: Mohammad Al Attar (BTS 2014) and his play Could you Please look info the Camera? ; Unguarded Collective (BTS 2014) and their devised performance The Sacred Way; and Aktina Stathaki's Abandon the Citizens (2013-2014). A Creative Space Grant from the Alliance of Residence Theaters gives us much needed time and space to explore and develop the pieces in a process-oriented environment which we plan to continue in the Spring.

2015 is going to mark our 5th year of activity. In those years of hard work to establish a presence for Mediterranean voices, we have been fortunate to meet and work with amazing artists in New York and internationally and get the attention and support of institutions who have helped us grow. As we're entering our 5th year with new ideas, plans and ambitions, we are thankful to each and everyone of you for being part of this community and we hope to continue sharing with you interesting, innovative and beautiful performances!

Aktina Stathaki 
Artistic and Producing Director

Support Kaveh's Dream of "Shirin" theater

 Support Kaveh's Dream of "Shirin" theater

Mr. Kaveh Ayreek needs your monetary help to complete his "Shirin" theater.

If you could help go to the link below.

For see Kaveh’s Work, Please click link below.

 Please like Kaveh’s page in facebook and share this emails to all of your friends.

Description of Kaveh Ayreek,

 Kaveh Ayreek is an Afghan mime artist, writer, director and actor currently residing in Kabul Afghanistan. His dream is to bring some relief to his post-war society, and help relieve their traumas of war through his art. 'Shirin', meaning sweet, in Farsi, is  one of the many plays he has written. But the thought of Shirin is not leaving him alone. Neither does the pains of Shirin. As he puts it himself '‌Shirin is the symbol of Afghan women's resistance and perseverance in one of the most male dominated societies of today's world, Afghanistan.' So he has to do something bigger with it. His Shirin (Sweet) dream is to start the first Shadow theatre in Afghanistan, 'Shirin's Theatre'. But he himself does not have the resources to start it. He has asked many people inside Afghanistan to help him launch it, but has not received any positive response yet. But he is determined to change that through his art, a society that has to start enjoying art and supports it. Afghanistan is a post-war country that needs people like Kaveh to start something new and different than what people are used to, war and devastation.

As one of his friends, I felt obligated to raise the amount he needs to start this. Any amount you can donate is greatly appreciated and will be put to right use.  Please consider helping Kaveh's Dream of Shirin come true. 

Here is a sample of

Kaveh's Work

If there is any questions please do not to hesitate to contact me.

 With best regards,

kaveh ayreek


Mobile: +93 (0) 793556967

Words without Borders: Contemporary Czech Prose

Words without Borders: Contemporary Czech Prose

This month we present new Czech prose. 

Magdaléna Platzová recalls the end of a love affair and a life

Tomáš Zmeškal searches for his prodigal father

Petra Soukupová sees a family rocked by a devastating injury

And more by Jan BalabánRadka DenemarkováPetra HůlováJakuba KatalpaJiří Kratochvil,Martin Ryšavý, and Marek Šindelka

With new writing on discovering literature from Valeria LuiselliAbdel-Moneim Ramadan, and Can Xue

Looking to Get Involved?

WWB is Looking for a Development Intern

Find out more about applying over here

WWB Events 

Around the Globe: International Diversity in YA Writing 

Where: New York Public Library, Main Branch, South Court Auditorium 

When: Wednesday, December 10, 6:00 PM

Who: Padma Venkataraman, Arthur A. Levine, Briony Everroad, Marc Aronson, and Roxanne Hsu-Feldman

Words without Borders and the New York Public Library present a discussion of the vibrant and compelling world of international YA. Join our distinguished panelists, including Padma Venkataraman, Briony Everroad, Roxanne Hsu-Feldman, and Arthur A. Levine in a wide-ranging conversation about diversity and international voices in YA writing today, moderated by editor, author and professor of Library Sciences Marc Aronson. This event coincides with the launch of WWB’s December issue, dedicated to the best new YA writing from around the world, from countries including Georgia, Bangladesh, Germany, Norway, South Korea, and many more.

Co-presented by Words without Borders and the New York Public Library


The 2014 Words without Borders Gala and Globe Trot 

Many thanks to all who came out to celebrate our eleventh annual gala and to help us toast Knopf editor and translator Carol Brown Janeway, who was awarded the 2014 James H. Ottaway Award for the Promotion of International Literature. Read more about the evening overhere

The City and the Writer: In Kyoto with Brian Turner

By Nathalie Handal 

Can you describe the mood of Kyoto as you feel/see it?

I was surprised to learn, in such a major city, that the pace of life in Kyoto moves much like the Kamagawa (the Kama River)—slow and steady, languid in the summer heat, with an occasional rush or hard current when the rains roll through. more>>>

Abby Margulies Reviews Joseph Roth'sThe Hundred Days

An achingly beautiful fictional account of the rise and fall of the Emperor Napoleon. more>>>

An Interview with Liana Finck

By Rachel Morgenstern-Clarren

"People comment that the letters were rabbinical, or fatherly, or godlike, even: very strong and quiet. Maybe the letters were chatty enough and he just wanted to be reassuring. I have a feeling that’s what he was doing, and I have a feeling that it worked, and they were reassuring."more>>>

Emma Garman Reviews Otfried Preussler'sKrabat and the Sorcerer's Mill

Preussler’s storytelling mastery and gift for atmosphere render this Bildungsroman-meets-Gothic horror both timeless and splendidly, creepily original. more>>>

Help Yourself: An Interview with Alona Kimhi

By Rohan Kamicheril 

When I was young I read very funny books. I read very funny writers, and I loved it and it affected me. I fear boredom. Maybe it's not good because it's like being a clown. But I don't use humor out of a desire to be liked. I just need it to get myself going. And life is funny. more>>>