Bates Dance Competition receives two grants totaling $190,000 from the Nationwide Endowment for the Arts | Information


The Nationwide Endowment for the Arts has introduced two main awards to the Bates Dance Competition, together with an American Rescue Plan award of $150,000 designed to assist the competition get better from the disruptions brought on by the COVID-19 pandemic. The second award of $40,000 is for common assist to the competition, which is celebrating its fortieth anniversary this yr, and can be used to assist artists.

Shoshona Currier directs the Bates Dance Competition. ({Photograph} by Heidi Kirn)

The $150,000 award is a part of an almost $58 million help bundle the NEA is distributing to 567 arts organizations nationwide. All recipients can use the funding to save lots of jobs, fund operations and services, buy well being and security provides or use the cash to fund advertising and marketing and promotional efforts to encourage attendance and participation.

Director of the Bates Dance Competition Shoshona Currier stated the American Rescue Plan award can be invaluable as they put together for the summer season competition. Currier realized of the $40,000 grant earlier in January. It’s one in every of 15 awards, totaling $265,000, designated for Maine teams by the NEA.

Nationwide, greater than 1,800 organizations utilized for these grants. Currier stated the funds can be used for artist charges for performances this summer season. A number of the upcoming competition’s artists initially deliberate tasks for 2020 that had been postponed due to the pandemic.

“This recognition by the Nationwide Endowment for the Arts may be very welcome and well-deserved,” stated President Clayton Spencer. “Shoni has offered management for the Bates Dance Competition that has been artistic and impressed from an inventive viewpoint, and remarkably pragmatic in adapting to the difficult realities of manufacturing stay performances throughout the pandemic. This funding is especially well timed as we stay up for bringing the competition again to campus in particular person this summer season, with thrilling and wide-ranging packages for dance college students, performing artists and audiences alike.”

Appearing in the photographs are Justin Moriarity, technical director for the Bates theater and dance department, who is serving as the BDF production manager, and psychology major Jamarhi Amrham '22 of Fontana, Calif., who is interning with the BDF this summer.EMILY JOHNSON/CATALYSTProcessions Toward, Being Future Beingwork-in-progressJuly 17-18, 6:00pmKennedy ParkEmily Johnson/Catalyst’s newest work in development, Being Future Being delves into the power of creation to build a visual, aural and ancestral landscape of Indigenous power. Featuring a newly commissioned soundscore by Raven Chacon and a cast of more-than-human creatures, this work-in-progress connects audiences to land and imagines new ways to be together. By (re)building new visions of the forces that brought this world into being, Johnson brings forth new futures with the potential to reshape the way we relate to ourselves, and to the human and more-than-human cohabitants of our world.BDF audiences will experience a work-in-progress of an outdoor section of this work that is still in development. Audiences will walk through areas of downtown Lewiston throughout this piece. Please do not bring blankets and chairs. Bring only what you are comfortable carrying. For accessibility questions, please contact bdfboxoffice@bates.eduEmily Johnson is an artist who makes body-based work. She is a land and water protector and an activist for justice, sovereignty and well-being. Emily is a Bessie Award-winning choreographer, Guggenheim and United States Artists Fellow, and recipient of the Doris Duke Artist Award. She is based in Lenapehoking / New York City. Emily is of the Yup’ik Nation, and since 1998 has created work that considers the experience of sensing and seeing performance. Her dances function as portals and care processions, they engage audienceship within and through space, time, and environment — interacting with a place’s architecture, peoples, history and role in building future
Creativity was the watchword throughout final summer season’s pandemic-modified Bates Dance Competition, which featured various areas, each indoors and outdoors, as a consequence of pandemic restrictions. Throughout a rehearsal final July for a efficiency of a piece in growth, Being Future Being, in Kennedy Park, choreographer Emily Johnson works with a dancer swathed in quilts. (Phyllis Graber Jensen/Bates Faculty)

Currier, who took over the place of director of the competition in 2017 after the retirement of longtime director Laura Faure, additionally famous how susceptible performers had been to the setbacks of the pandemic. “This pandemic has been particularly merciless to artists, gig-workers, and so many important contributors in our artistic industries,” Currier stated. “Aid funding for organizations is so important in creating stability within the subject sooner or later. And hopefully we’ve realized from these years and are creating higher methods than what had been beforehand in place.”

After a canceled 2020 season, the competition — with limits on the variety of college students and performances — returned in 2021. Currier put her creativity to make use of, developing with various areas, each indoors and outdoors, to regulate to customer restrictions on the Bates campus. She turned the facet of Schaeffer Theatre right into a film display to point out movies exterior. For a efficiency by a land and water protector and activist for justice, Emily Johnson, Currier turned to Kennedy Park in Lewiston.

An interactive video set up at L/A Arts Gallery invited contributors in, one by one, for 20 minute interactions. At Simard Payne Park Amphitheater, stay salsa music impressed dancing by viewers members and likewise served as a venue for Vanessa Anspaugh’s audience-interactive local weather change-related efficiency “Funerals for the Ocean.”

Artists and dancers “tailored consistently” final summer season, stated BDF Director Shoni Currier, providing a “testomony to what can occur inside a artistic observe in essentially the most determined of conditions.” Right here, viewers sat on Faculty Avenue — helpfully closed for the event — to view a movie, Communion, projected on a display on the porch of Schaeffer Theatre. The movie was created throughout the peak of the pandemic lockdown by Janessa Clark, who requested every of 40 dancers to submit a video of themselves dancing. Every video was then mixed with one other dancer’s video to create 20 “distanced duets.” (Phyllis Graber Jensen/Bates Faculty)

The competition additionally commissioned writing by dancers, to supply alternatives whereas theaters had been closed. The following season of The Future Unattainable, an anthology curated by choreographer Raja Feather Kelly for the Bates Dance Competition, can be launched this month. The anthology was a mission born out of the pandemic, meant to have interaction dancers whereas they had been separated bodily. It options 16 artists responding to prompts in essays, interviews or different prose over the course of a yr. 

“We’ll proceed out of doors occasions and writing tasks and discovering a number of methods to assist artists,” Currier says. “However our hope is we’ll be primarily again on campus in 2022, the place the competition began. It doesn’t matter what occurs although, this funding from the NEA goes to make all of the distinction. I feel it’s protected to say, we’re all dancing for pleasure — and reduction — about this.”  

 



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