Find Time and Space with Residency Programs
by MINA RIOS
Recognized as one of the world's foremost artist residencies, the Djerassi residency pro- gram receives a combination of emerging, mid-career, as well as some established danc- ers and choreographers which have included Deborah Slater, Dohee Lee, Sara Shelton Mann, Derrick Jones, Weidong Yang, and Jodi Lomask. Djerassi has a large dance studio with a sprung floor and offers overnight accom- modations for dancers or videographers who collaborate with choreographers. Fuller
The alliance’s website, ArtistCommuni- ties.org states there are over 160 dance resi- dency programs in the U.S. and Canada and dozens more around the world. The website serves as a free, comprehensive online source connecting artists with residency programs everywhere. Resources include a residency directory with tips on: how to apply; how to create a residency; how to crowdfund; and also lists annual conferences and workshops happening around the country. While the Alliance of Artists Residencies serves international artists of all disciplines worldwide, dance residencies in the Bay Area vicinity are somewhat plentiful compared to other parts of the country. Artistic and executive director Julie Phelps of CounterPulse in San Francisco says, “Dance continues to be the most marginal- ized performing art form. If I were to take a guess it’s because art’s history traced indus- trial development, and as the body became more and more suppressed as labor standard became harder on the body, dance went into the shadow. Not to mention Victorian and Puritan moralistic body shaming.”
INSPIRATION POURS from your graceful finger- tips and toes. If only you had time and space to explore the depths of your imagination freely, validating what you already know to be true: that you are a dancemaker and you must create. ‘Tis no fantasy. There is in fact a way to hone your skills, develop and present your work – as you so desire, and it doesn’t have to cost you a cent. Artist in Residence (AIR) programs that cater to dance are distinctly designed for dancemakers. While some focus on research- and-development, others are performance or teaching-based. Long-term residencies are typically planned a year in advance or more. The advantages are many. AIR opportu- nities are available to both emerging and established artists – whether local, from out of state, or abroad. One residency experience can lead to others. An artist can even make a career out of participating in artist residency programs if they so desire. However, a tre- mendous amount of research goes into find- ing the right programs. The application sub- mission process is no less daunting. The most sought-after residencies offer fully subsidized accommodations and cre- ative time, space, and support including food allowances and housing, enabling artists to focus on their creativity. Artists are competi- tively selected for these residencies which can span anywhere from one week to several years. Many artist communities can support a single artistic discipline or bring together artists of other disciplines. Settings vary anywhere from rural hide- aways to urban warehouses. According to the Alliance of Artists Communities about 60% are in rural or small-town environments. Established in 1991, The Alliance of Art- ists Communities is an international associa- tion of artist residency programs that pro- vides artists of all disciplines time and space for the creation of new work. During the alliance’s formation, the MacArthur Foundation—the funding source behind the creation of the Alliance of Art- ists Communities, and advocate in favor of nurturing the creative process—selected 18 organizations for a one-time $2.5 million, subsidized initiative focused on Artists' Colo- nies, Communities, and Residencies. Orga- nizations partaking in the initiative included the Djerassi Resident Artists Program, Head- lands Center for the Arts, and Jacob's Pillow among others. Important to note is the Alliance of Art- ists Communities’ “Mind the Gap” study published in 2011, an extensive survey of dance residency programs. The study was conducted following a 2008 report by the National Endowment for the Arts, bringing to light how “Dancemakers are under-served and under-resourced, even as compared to other artists.” Advancement Director Terra Fuller of the Djerassi Resident Artist Program responds, “We are closely affiliated with the Alliance of Artist Communities. We are familiar with the “Mind the Gap” study and are proud to be among the 14% of residencies with dance studios, which is a statistic listed in that study.” Fuller acknowledges the shortcom- ings that exist in dance residencies. “Studio space dictates the number of choreographers in residence. At Djerassi, we have one dance resident each session (two if they bring a col- laborator), whereas we can accommodate 6-7 writers and 3 visual artists per session.”
current and alumni. Performance facilities consist of a stand-alone studio in Headlands’ iconic gym or a redwood-lined former ware- house. Artists also have access to the campus at large, with a variety of historic spaces.” To ensure residency programs at Head- lands continue, consistent monetary backing remains a vital component. Uyehara says, “For Headlands and across the field, we need to see institutional and public support in the forms of financial contributions, public pro- gram attendance, and people and organiza- tions voicing interest in the institutional sup- port of dance production.” SAFEhouse Arts (Saving Arts from Extinc- tion) in San Francisco offers emerging and mid-career artist residencies focused on con- temporary dance. Resident Artist Workshops (RAW) provide artists with rehearsal space, mentorship, marketing, and production sup- port for performance. AIRspace Residencies are dedicated to supporting queer and trans artists of color and people living with HIV/ AIDS, and the RAW Lead Artist Program is designed for artists seeking a long-term artis- tic relationship with SAFEhouse. Executive director and founder of SAFE- house for the Performing Arts, Joe Lan- dini says, “We accept the majority of artists that apply and most artists can stay for any period of time they want. Last year we sup- ported 135 residencies. We don’t charge an application fee. Our program is completely free. I think that if there is value, then pay- ing for a residency is fine. Each artist has to examine the program and decide if it’s a good fit for them.” Words of wisdom to artists pursuing dance residencies: “We [CounterPulse] recommend that interested applicants express interest in pro- moting their work and engaging with new/ current audiences throughout their residen- cies. Also, get involved and familiar with CounterPulse. Come to shows, come to open call info sessions, get to know our commu- nity,” says Ebrahemi. Uyehara with Headlands says, “Capture compelling documentation of your work. Apply with a thoughtful articulation of your practice. And don’t wait until the last minute to finish those applications. If possible, come to Headlands to see the facilities.” Fuller with Djerassi says, “Don't be dis- couraged if you don't get accepted - keep trying. The selection panels rotate every year. Each year we have about 900 applications for 70 residency spots.” Landini with SAFEhouse says, “Each pro- gram has its own set of criteria, for example, ours is not very process orientated, it’s very much about generating public performance. Other programs are more about process and investigating.” You’re a dancemaker and you deserve an audience. Residency administrators are ready to receive your letter of interest and learn about your unique aesthetic. Now that you have the right skill set and tools, take the next step. Leap toward your future and begin now. MINA RIOS found inspiration in dance during her youth in San Francisco. Trained in music, theatre, and dance; followed by Journalism & Mass Com- munications, Rios has written for Dancer Magazine , Dance International Magazine , and Dance For You Magazine and most recently Sonoma Magazine , the Pacific Sun , and the North Bay Bohemian .
Monique Jenkinson at Headlands Center for the Arts / photo by Andria Lo
Jyotsna Vaidee at SAFEhouse Arts / photo courtesy of SAFEhouse Arts
proudly shares, “A Djerassi residency is fee-free to the artist; yet each 30-day resi- dency costs the program about $10,000. The diversity of resi- dency models makes a rich and strong field, but we are committed to remaining fee- free to artists.” Fuller continues, “All artists arrive and leave at the same time, creating intense inter- disciplinary cohorts. Another distinct opportunity for cho- reography and dance artists at Djerassi is the collegial inter- action with artists of other dis-
ciplines. A quote from a painter, Paula Bull- winkel, from Bend, Oregon, illustrates the value of the cross-disciplinary experiences. She wrote, ‘Bonding with other artists at Djerassi was phenomenal. We had so much in common. When the writers gave feedback to one of the residents at a reading, I realized their ideas applied to visual concepts. When one of the dancers talked about moving instinctively versus choreographed moves, I saw how that concept could apply to paint- ing as well. I began to experiment with mix- ing realism with expressionism.’ ” Residencies for mostly mid-career and established artists at the Marin based Head- lands Center for the Arts offer a unique model as well. Uyehara explains, “By provid- ing the five key supports that artists need— namely time, space, money, validation, and networks—at a site ideally situated to fos- ter introspection and exchange, we nurture original thought and spark vital new direc- tions in art. Our vision is to provide the ideal conditions for artists and creative thinkers to develop new works and ideas, no mat- ter their discipline. We provide: A private bedroom in a shared historic home, chef- prepared meals five nights a week, a stipend, round-trip travel to the site, opportunities to participate in public programs and open studios, connection to a wide network in the arts, including Headlands artists, both
Phelps advocates that dance residen- cies should include: “sprung dance floors, adequate space, producing support to fully and professionally realize staged work, more grants geared toward dance.” Residency applicants at CounterPulse are primarily comprised of up-and-coming danc- ers and choreographers, along with a few dance company ensembles. In most cases, applicants have completed one or more resi- dencies elsewhere. Communications and engagement man- ager Justin Ebrahemi shares, “CounterPulse does not have an application fee. We want to ensure our residency programs are as acces- sible as possible while offering a generous artist stipend to participating artists. We do however ask applicants to become Counter- Pulse members (we have a pay-what-you- can membership program) as we see our residency programs as a mutual agreement to support each other’s visions. All of our [four] residency programs include outreach and mentorship opportunities to our art- ists, including progress showings, discourse events, and publishing creative content about their work.”
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