Sunday, September 25, 2016

Emptiness: Giving without Staying

I've spent the last two weeks studying emptiness. Venerable Lobsang Chunzom has been out here in LA teaching classes on Master Kamalashila's commentary of Lord Buddha's DIAMOND CUTTER SUTRA. Prior to this I've read the DIAMOND CUTTER SUTRA (DCS) many times and studied a commentary by Choney Lama Drakpa Shedrup (1675-1748). This new commentary from Master Kamalashila (750) takes a different spin on emptiness. The past two weeks I've also felt extremely motivated by all the work I have to do to understand and apply these teachings.

Previously I knew the main teaching on emptiness being that it's a negative unchanging stuff joined in the nature of all phenomena. It's what allows a pen to be a pen to me and a chew toy to a dog. It's the blank screen karma is loaded into or onto every moment. And in the DCS there's this constant mention of giving without staying. I know that phrase to be in reference to karma and emptiness, and the positive action of giving must be done with the awareness of emptiness in order for one to call themselves a higher level Buddhist actor in the world. Giving without staying in my belief of all the different lists of karmic principles: the four steps, the 3 spheres, the 3 cocoons, 3 types of karma, four step purification, 3 karmic results. All these lists upon lists are re-enforced with that emptiness, including the belief in karma itself which is empty,

What I never considered was the emptiness of the emptiness. It's been mentioned before in other sutras and my mind gets vague on it. I intellectually understand: yes even emptiness has emptiness to it. I understand that in a hazy way. Master Kamalashila uses the metaphor of a fountain that spews out water in a certain pattern. That pattern is unchanging like emptiness. But the water is constantly changing and shifting. Emptiness is unchanging like that shape, but my perception of it and interaction with it is like the water flowing through that shape: shifting constantly. So emptiness has emptiness to it b/c of my perception/interaction. So as I try to understand more of emptiness, that too will shift. And as I give with emptiness, I can't stay in the act of giving, nor stay in my understanding of 'not staying' at the moment. It shifts.

So in the 3 sphere of giving -subject doing the act, object receiving act and the object(or verb) that flows between then each sphere has an emptiness to it. My past habits load each sphere with what I'm used to seeing and expecting. It's making me rethink all my previous understandings of emptiness.

Contemplating and meditating this morning on a Buddhist holiday. I write these notes down for my own review later on. And -like the sutras say- I rejoice in this act (without staying). 

Monday, September 19, 2016

The Clinton Error of Personality

I'm voting for Hillary Clinton. One of the most frustrating traits about her, though, is her ability to make the same mistakes again and again. A year ago, David Plouffe and other Obama aides warned the Clinton campaign that they were about to mess up again like they did in 2008 when they built a presidential campaign around the concept of how cool it would be to elect someone like Hillary Clinton rather than finding a big issue. Obama beat her because his slogans were about the crowd, while her slogans were about joining her team, which meant you had to like Hillary Clinton. As a person, she has always had high negatives for her personality but is given positive marks for her ability to tackle particular issues. The logical choice would be to then pick an issue and not make the campaign about 'liking' or trusting Clinton.

Then the Clinton campaign went with the slogan 'I'm with Her' and proceed down the same path.  Her operatives have based a campaign around Hillary Clinton, who now has extremely-high negatives facing an opponent whose entire platform is built on all personality and no substance.

Clinton can't separate herself from Trump in the polls because the news cycle is focused on the individuals and what they're saying, instead of the issues. She's playing into Trump's hand on this. It's as if instead of 'Hope" and "Change," Obama ran with the slogan 'Back in Black' or "Go Cool.'  He would have made the campaign about himself rather than inspiring young people to get involved in the campaign and fit in where they could get in.  The best elements of the most successful Democratic presidential campaign in history incorporated others, and used the youth.

The youth feel stuck on the outside of the Clinton campaign and the only tool they have is to make voters so scared of Trump that they'll be motivated to go to the polls. This is a really really shitty strategy for young left-leaning voters because they are less motivated by fear than older people and conservative people.

Despite all these missteps, Clinton still has a fairly good chance of winning. But because her campaign has not staked out any issue and created an entire slogan about their candidate's gender, we have watched an entire election cycle get squandered. The DNC also lost a chance to recapture the House and maybe even the Senate. And everyone suffers because Clinton camp continues to misunderstand what motivates people. 

Thursday, September 8, 2016

GET WHAT YOU WANT: September 2016



1.
MAP Grant
Deadline: October 28th
website: mapfundblog.org/the-program/

Open submissions to the MAP Fund are accepted in the first stage of our three-stage review process.

Stage 1: Register on the MAP Fund website for the Online Letter of Inquiry. This is an open call requesting written information about your project and the lead artists involved.
After a review by field evaluators and MAP staff, those proposals that most closely align with the MAP Fund goals are invited to make a full application through email notification.


Stage 2: Full Application (by invitation). Also online, the full application requests a complete project budget, statements from lead artists, and work samples, in addition to the information submitted in the LOI. Full applications are reviewed by field evaluators and, based on these scores, a selection moves forward to the on-site peer panel.


Stage 3: A nationally composed peer panel meets on-site in New York City to review the applications. The panel recommends which proposals will be funded. Final recommendations are subject to approval by the Creative Capital Board of Directors.


REVIEW CRITERIA
Proposals are evaluated on the basis of the following criteria, which are weighed equally:
How well a project aligns with the MAP Fund’s goal of supporting live performance projects that embody a spirit of deep inquiry. MAP is particularly interested in supporting artists that question, disrupt, complicate, and challenge inherited notions of social and cultural hierarchy across the current American landscape.
The artistic strength of the proposed project.
The viability of the project, based on the applicant’s professional capabilities as demonstrated in the project narrative, bio and artist statement, and work samples.
Letter of Inquiry and Full Applications must come from organizations based in the United States that have current nonprofit federal tax status (501c3). Unincorporated artists or ensembles may apply to MAP through a fiscal sponsor.
Organizations and artists must demonstrate at least 2 years professional experience.
MAP supports only projects that contain a live performance.
Eligible projects must not have premiered anywhere in the world before the first date of the current grant activities period.
The touring or documentation of work that has already premiered is not eligible for funding.
Current employees or board members of Creative Capital, the Doris Duke Charitable Foundation or the Andrew W. Mellon Foundation, or immediate family members of such persons may not apply for a MAP grant.
Artists who receive a MAP grant two years in a row are asked to sit out the next year before reapplying.

WHAT WE ARE NOT LOOKING FOR
MAP does not support straight adaptations from one medium to another, remounting of past work, traditional re-staging of classic works, educational projects, youth programs that do not achieve as high an artistic standard as competing professional works, festivals, or contests.

ALLOWABLE ACTIVITIES
MAP supports most direct costs related to the conception, creation and premiere of a new work. These include but are not limited to commissioning fees and artists’ salaries, research costs, rehearsal and workshop expenses, promotion, and audience outreach and production costs up to and including the premiere run of the work.

NUMBER OF AWARDS
Up to 40 grants per annual cycle, ranging from $10,000 to $45,000. The average award amount is $25,000

2.
The O’Neill Center: 2017 National Playwrights Conference
Deadline (window): Sept 14- Oct 14th
website: www.theoneill.org/summer-conferences/npc/submission-info/

If you are interested in applying, please look over the materials and sign up to receive email updates about the National Playwrights Conference. As soon as we post our 2016 application, you will be the first to know.

The National Playwrights Conference strives to create a supportive environment that empowers playwrights to their own process and to experience the play with a professional company.
In the years since its inception the National Playwrights Conference has developed more than 600 plays.  During the Conference, playwrights live on the grounds of the O'Neill for a full month and each engages in a week-long process of rehearsals culminating in two script-in-hand public readings.  Up to eight playwrights are selected for this intensive laboratory each summer.  Conference playwrights represent a wide range of experience from those working on a first play to Broadway veterans; directors and actors have also worked on and off Broadway, in film, and in regional theaters, and represent emerging artists and seasoned professionals.
Each year NPC accepts scripts from any playwright for consideration in its summer landmark event, and takes this solicitation and selection process very seriously. We do not require an agent or nomination to apply, simply the right to work in the United States.
The O'Neill typically receives approximately 1,000 scripts during this month-long window. The plays are sent to readers across the country; the work is read blindly and narrowed down into a semi-finalist pool and then a finalist pool. This process is maintained by our on-site literary office and is monitored carefully.
ELIGIBILITY REQUIREMENTS:
You must be 18 years of age and have the right to work within the United States.
The play must not have had a professional production, or be scheduled to have a professional production, prior to August 2016. A professional production means that the artists working on the show were compensated for their time, and that all of the theatrical elements one hopes to see in a production were present.
You may submit one original or adapted work, providing that the rights to any material not in the public domain have been granted in writing, and a copy of the release is sent along with the script.
We develop all genres and styles of drama, including one-acts and solo pieces.  NPC does not develop music theater works, though you may submit such work to the National Music Theater Conference.
While we accept work that has been submitted to NPC in previous years, we recommend that you share new work with us each year.
Only complete applications will be accepted, whether in hard copy or electronic form.



3.
Playpenn
Deadline: September 30th
Website: www.playpenn.org/application/2-uncategorised/30-application-2

Beginning September 1, PlayPenn will be accepting applications for its 2017 new play development conference; we are pleased to request your full length, unproduced script for consideration. Please review the guidelines carefully and completely before making application. Application materials will be accepted between September 1 and September 30th. Your application must be uploaded and complete by September 30th or it cannot be considered.
Currently, we are not considering musicals, plays for young audiences or oneperson plays. Also, if you were a 2016 Conference playwright we ask for a oneyear hiatus from applying.
The 2017 conference will be held in Philadelphia, PA from July 11-30th at The Drake Theatre in Philadelphia, PA. Invited playwrights will have the opportunity to work with a director, dramaturg and Philadelphia-based, professional actors over a 20-day period that allows for 29 hours of rehearsal and staged reading time along with ample time to reflect and write. The work will begin with a three-day roundtable (July 11-13) that will help in laying the collaborative groundwork for the development time ahead. The conference includes two public staged readings that are intended as a part of the process, giving playwrights an opportunity to measure the efficacy of the work accomplished and provide an opportunity to gauge the work ahead. PlayPenn will provide travel for casting for both writer and director, travel to and from the conference, housing, per diem and a stipend.
Applicants should be aware that we are a development conference rather than a festival or showcase for new work. The distinction is important and meaningful to us in the current climate of the increasing commercialization of play development. We work to avoid participation in what has become known as “development hell” by fostering an environment in which risk is rewarded and honest assessment is provided and encouraged. To that end, we focus on the needs of the text. The public Conference readings are intended to present a glimpse into how the text lives off the page rather than how the how the play might be staged in production.

4.
Bay Area Playwrights Festival
Deadline: October 15th
Website: http://bayareaplaywrightsfestival.org/submissions-2017/

Bay Area Playwrights Festival Submissions
Five-six plays will be chosen for the annual Bay Area Playwrights Festival. Winning playwrights are paired with an artistic team comprised of a professional dramaturg, director, and actors. They will receive two weeks of rehearsal and two rehearsed staged readings, each one separated by five to six days for rehearsals and rewrites. Local and national producers, theater artists and the general public are invited to the festival to see the staged readings, participate in special events and meet the playwrights.
How to Apply: Submissions opened on July 15th, and will close October 1, 2016.  To submit your play, please visit LiteraryManager.org and sign up for an account, or log in when prompted, if you do.  Please contact our Literary Manager with further inquiries at literary (at) playwrightsfoundation.org.

It is primarily through our open submission process that Playwrights Foundation’s artistic staff gets acquainted with the work of a wide range of contemporary writers. Playwrights Foundation’s programs are open to all playwrights living in North America and writing primarily in English.

Plays must be full-length, between 60-120 pages, unproduced and original. Submissions must be in PDF form. We do accept adaptations, but not translations. Only one submission is allowed per playwright. Plays that have previously received a workshop or university production are considered unproduced. At this time, we cannot accommodate musicals for our programs unless permission is gained in advance to submit.

There is a $20 submission fee. For Alumni of Playwrights Foundation programs and students the fee is automatically waived. If you are under financial strain, write to us and we will negotiate fee waivers on an individual basis.

Dates: Bay Area Playwrights Festival activities will occur in July of 2017 at our home theater, Custom Made Theatre on Sutter Street, in San Francisco. Exact dates for the 2017 BAPF are TBA.

Retreat: A pre-festival weekend retreat prior to rehearsal brings together artistic teams and playwrights to share work, thoughts and feedback with other festival participants. It is mandatory for playwrights to be in residence for the entire retreat (2-3 days in early July) and festival period.

Financial arrangement: Minimum $500 Stipend, travel, housing.
Award notification: Playwrights invited to programs other than the annual Bay Area Playwrights Festival will be contacted on a rolling basis. The playwrights selected for the Bay Area Playwrights Festival will be notified by or before April 1st, 2017.

5.
GREAT PLAINS THEATRE CONFERENCE
Deadline: Oct 15th
website: https://webapps.mccneb.edu/gptc/CallforPlays.asp

The Great Plains Theatre Conference offers playwrights the opportunity to interact with and have their work seen by top writers, directors and actors from across the country. In addition, playwrights work directly with these professionals in hands-on writing and industry workshops, participate in daily panel discussions and attend evening performances with master playwrights and theatre practitioners. Past panelists, workshop leaders and respondents include: Edward Albee, Doug Wright, Emily Mann, Mac Wellman, Arthur Kopit, Marshall Mason, Mark Lamos, Theresa Rebeck, Constance Congdon, Erik Ehn, Will Eno, Lee Blessing and David Lindsay-Abaire among others.
Plays submitted are reviewed by a 100% blind reading process and considered for the following categories...
THE MAINSTAGE SERIES
Five plays are chosen for the MainStage Series and recognized with the Holland New Voices Award. For the playwright, this includes a $500 honorarium, travel, room and board, Conference registration and preferential admittance to all special WorkShop sessions and Conference events. MainStage playwrights also receive a script rehearsal period with local and national directors and actors. Near the end of the week, the GPTC features a staged reading of each script for Conference attendees and the general public. A panel of top theatre professionals serve as respondents to the work. The five MainStage plays are published in “The 2015 GPTC Reader.”
Playwrights whose scripts are chosen for MainStage readings must attend the GPTC for the entire week.

DAILY PLAYLABS
Approximately 25 plays are chosen for the daily PlayLabs. For the playwright, this includes room and board, Conference registration and preferential admittance to all WorkShops and Conference events. Local and national directors and actors rehearse in preparation for a staged reading of each script. Conference attendees and the public attend these readings and a panel of select theatre professionals serves as respondents
Playwrights whose scripts are chosen for PlayLab readings must be available to attend the entire conference.

SUBMISSION GUIDELINES:
The GPTC will accept both full length and one act scripts.
Playwrights may submit a maximum of one script.
Scripts co-written by multiple playwrights may be submitted. If chosen, the benefits outlined above will be provided for ONE playwright only.

Plays that have received an Equity production, plays for young audiences and musicals will not be accepted.

All selections will be finalized by March 15.
There is a $10 fee for each submission. Submissions will not be considered without payment. The entire fee is applied toward the costs for readers.

6.
Jewish Play Project
Deadline: October 15th
Website:  www.jewishplaysproject.org/guide

Looking for new, full-length plays and musicals with significant contemporary Jewish content. We don't work on WWII or Holocaust material, or on mid-century Jewish immigrant stories, but the rest of the field is wide open. We encourage submissions from all writers - it is not necessary that writer identify as Jewish.

The full RFP for both our nationwide playwriting Contest and our New York-based workshops is attached.
the full submissions guidelines: www.jewishplaysproject.org/guide
the submissions page: www.jewishplaysproject.org/submit
the Facebook Event: https://www.facebook.com/events/1160108837368802/
Please feel free to reach out to David Winitsky david@jewishplaysproject.org with any questions, or to his Literary Associates (Noah Mitchel and Justin Halle). The deadline is 10/15/16.


7.
Blackboard Reading Series
deadline: Oct 31st
Website: http://blackboardplays.com/submit/redvolution-submission/

Between September 1 and October 31, 2016 Blackboard Plays will be accepting short plays (30 minutes or less), concerning HIV/AIDS within the Black community.

Since 2008, Blackboard plays has been devoted to the Black Playwright throughout the African Diaspora.   Blackboard is a resident series @ the cell, where the series has been incubated.

If you are familiar with Blackboard @ the cell, you know that a usual Blackboard community night is similar to a poetry open mic where playwrights bring up to 10 pages and have their work cold-read.  This December 2016 curated community night will be a little different.

Writers will be notified in November and your piece will be cast.

The final selections will be read on Monday, December 12, 2016 beginning at 7:30pm.

Submission Guidelines
The file you submit should contain:
1) Your Bio
2) Play Synopsis
3) Title Page w/ Character Breakdown
4) Your short play
Any questions: info@blackboardplays.com
Submission Page including Form and Upload Link: http://blackboardplays.com/submit/redvolution-submission/


8.
Radcliffe Institute at Harvard Fellowship
Deadline: September 15th
Website: http://www.radcliffe.harvard.edu/fellowship-program/how-apply

Radcliffe Institute is accepting fellowship applications from the creative arts until September 15th. Fellows receive office or studio space and access to libraries and other resources of Harvard University during the fellowship year, which extends from early September 2017 through May 31, 2018. Stipends are funded up to US$75,000 with additional funds for project expenses.Stipends are funded up to $75,000 for one year with additional funds for project expenses. Some support for relocation expenses is provided where relevant. If so directed, Radcliffe will pay the stipend to the fellow’s home institution. We work with fellows who have families to help with relocation issues for a smooth transition.

Fellows receive office or studio space and access to libraries and other resources of Harvard University during the fellowship year. Visual artists and film, video, sound, and new media artists may apply to come for either one or two semesters. In the event that they come for one semester, the stipend is $37,500. Fellows are expected to be free of their regular commitments so they may devote themselves full time to the work outlined in their proposal. Since this is a residential fellowship, we expect fellows to reside in the Boston area during that period and to have their primary office at the Institute so that they can participate fully in the life of the community.

9.
Cullman Fellowship
Deadline: September 30th
Website: https://nypl.onlineapplicationportal.com/misc/guidelines/default.aspx

Notification: March 2017
Award Period: September 6, 2017 - May 26, 2018
Stipend: $70,000

The Dorothy and Lewis B. Cullman Center for Scholars and Writers supports projects that draw on the research collections at The New York Public Library’s Stephen A. Schwarzman Building (formerly the Humanities and Social Sciences Library). The Center looks for top-quality writing from academics as well as from creative writers and independent scholars. It aims to promote dynamic conversation about the humanities, social sciences, and scholarship at the highest level — within the Center, in public forums throughout the Library, and in the Fellows’ published work.
Candidates who need to work primarily in The New York Public Library’s other research centers — The New York Public Library for the Performing Arts, the Schomburg Center for Research in Black Culture, and the Science, Industry and Business Library — are not eligible for this fellowship.
In order to avoid real or apparent conflicts of interest, the Cullman Center for Scholars and Writers does not accept applications from New York Public Library staff members or their partners, or from people active on the Library’s Board of Trustees, Board Advisory Committees, or Library Council.

Please visit www.nypl.org/research-collections for detailed information about the collections of the Stephen A. Schwarzman Building at Fifth Avenue and 42nd Street.
Fellows are required to work at the Cullman Center for the duration of the fellowship term and may not accept other major professional obligations during the term. Some fellows may have a few prior commitments, but must limit research trips, attendance at scholarly meetings, and speaking engagements to short periods of time. Anyone who needs to be away for more than two days must notify the Center's Director or Deputy Director. The Library will pro-rate fellowship stipends for fellows who spend too much time away from the Center.

Fellowships will not be granted to post-doctoral fellows or to applicants doing graduate-school dissertation research.

The Cullman Center will not accept dossier letters in place of new letters of recommendation.

Fellows must be conversant in English.

Completed applications and supporting materials — research proposal, Curriculum Vitae, letters of recommendation, and creative writing sample or art work sample — must be submitted by 5 p.m. EST on September 30, 2016.

10.
MacDowell Colony Residency 
Deadline: September 15
Website: http://www.macdowellcolony.org/apply.html

The MacDowell Colony nurtures the arts by offering creative individuals of the highest talent an inspiring environment in which to produce enduring works of the imagination. Residencies are awarded based on a completed application to the Colony. Applications are chosen by a peer-review panel. Artists may apply only ONCE within a 24-month period - select the residency period that best suits your schedule. We are currently accepting applications for our winter spring 2017 residency season. The deadline is September 15, 2016.

The MacDowell Colony provides time, space, and an inspiring environment to artists of exceptional talent. A MacDowell Fellowship, or residency, consists of exclusive use of a studio, accommodations, and three prepared meals a day for up to eight weeks. There are no residency fees. MacDowell Fellows are selected by our admissions panels, which are comprised of a revolving group of distinguished professionals in each artistic discipline who serve anonymously for three years.

The Colony accepts applications from artists working in the following disciplines: architecture, film/video arts, interdisciplinary arts, literature, music composition, theatre, and visual arts. The sole criterion for acceptance is artistic excellence, which the Colony defines in a pluralistic and inclusive way. MacDowell encourages applications from artists representing the widest possible range of perspectives and demographics, and welcomes artists engaging in the broadest spectrum of artistic practice and investigating an unlimited array of inquiries and concerns. To that end, emerging as well as established artists are invited to apply. Applicants who are in a degree program as of the date of application are ineligible for a residency and therefore cannot apply.
Artists may apply only once every 24 months. MacDowell will only accept applications for the next deadline. Please refer to the applications dates in the column on the left for open application time periods.  Applicants will be notified of admission status approximately 10 weeks after the applicable deadline. Winter/Spring residency takes place Feb 1, 2017 -May 31, 2017. Notification: November 25th     

Processing Fee: A nonrefundable processing fee of $30. Payable by Credit or Debit Card.

11.
Princeton Arts Fellowship
Deadline: September 19th
Website:  http://arts.princeton.edu/fellowships/

The Princeton Arts Fellowship, funded in part by The Andrew W. Mellon Foundation, will be awarded to artists whose achievements have been recognized as demonstrating extraordinary promise in any area of artistic practice and teaching. Applicants should be early career composers, visual artists, conductors, musicians, choreographers, filmmakers, performers, directors, or performance artists—this list is not meant to be exhaustive—who would find it beneficial to spend two years working in an artistically vibrant university community. Princeton Arts Fellows spend two consecutive academic years (September 1-July 1) at Princeton University and formal teaching is expected. The normal work assignment will be to teach one course each semester subject to approval by the Dean of the Faculty, but fellows may be asked to take on an artistic assignment in lieu of a class, such as directing a play or creating a dance with students. Although the teaching load is light, our expectation is that Fellows will be full and active members of our community, committed to frequent and engaged interactions. An $80,000 a year stipend is provided.

Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply.  Holders of Ph.D. degrees from Princeton are not eligible to apply.


12.
Princeton Hodder Fellowship
Deadline: September 19th
Website: http://arts.princeton.edu/fellowships/

 The Hodder Fellowship will be given to artists and writers of exceptional promise to pursue independent projects at Princeton University during the academic year. Potential Hodder Fellows are writers, composers, choreographers, visual artists, performance artists, or other kinds of artists or humanists who have “much more than ordinary intellectual and literary gifts”; they are selected more “for promise than for performance.” Given the strength of the applicant pool, most successful Fellows have published a first book or have similar achievements in their own fields; the Hodder is designed to provide Fellows with the “studious leisure” to undertake significant new work. Fellowships are for one academic year and provide the opportunity to pursue an independent project. Hodder Fellows spend an academic year (September 1-July 1) at Princeton, but no formal teaching is involved.

Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply.  An $80,000 stipend is provided for this 10‐month appointment.

13.
Playwrights First
Deadline: September 20
Website: http://www.playwrights-first.com/how-to-submit.html

Playwrights First consists of a panel of judges looking for original unproduced plays with a unique point of view, founded by Carolyn French.
Requires one, original, unproduced play in English. Hard copies no longer accepted. No adaptions, translations, or musicals will be accepted. Include a summary of your playwriting history with your play.  $1,000 grant and a professional reading when feasible.

14.
Brooklyn Arts Fund
Deadline: September 21st
Website:https://brooklynartscouncil.submittable.com/submit/60382

The Brooklyn Arts Fund aims to cultivate Brooklyn’s artists, arts organizations, and audiences through its support of performances, exhibitions, pop-up galleries, workshops, reading series, festivals, public art and more, all across the borough. This program is appropriate for arts and culture makers developing projects that contribute to the rich creative experiences that engage audiences all across the borough. Competitive applicants will clearly identify the audience they strive to reach, and articulate how the project’s outcome(s) will impact the cultural life of the borough. 

This program is appropriate for arts and culture makers developing projects that contribute to the rich creative experiences that engage audiences all across the borough. Competitive applicants will clearly identify the audience they strive to reach, and articulate how the project’s outcome(s) will impact the cultural life of the borough. Brooklyn-based 501c3 organizations and individual artists with Brooklyn residency may apply directly to this program. Program areas of funding include: dance, film/video/media, folk arts, interdisciplinary arts literary arts, multi-disciplinary projects, music/opera, theater/musical theater, performing arts community education and visual arts/crafts.

Funding is made possible through the generous support of the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs (DCA) in partnership with the New York City Council and Brooklyn Borough President Eric L. Adams. Additional support is provided by MetroPlus Health Plan.

Visit brooklynartscouncil.org for complete guidelines and a downloadable PDF of application questions, for your reference. In order to apply, you will need to scroll down and create an account with Submittable.

Sunday, August 28, 2016

Privileges and Perspective

I believe in helping artists of color, but I'm experiencing some strange karma. In the last 2 weeks I've received emails from about four or five artists (all black) needing help or wanting some questions answered. I replied to every single request saying I can set aside some time to answer any questions, make recommendations, or meet for coffee. Radio silence. Nothing.

At the same time I was asked for help by a few artists (all white) and a conversation began, met some for coffee, sent along recommendations, help was given. It's hard for me not to notice a weird disconnect in putting something out there and then who responds, and it made me think about going to where the love and appreciation is, which may be beyond race. I was an artist-in-residence for two years at Brooklyn Arts Exchange and reached out to as many artists of color I knew b/c I had funding and free space for collaboration over a two year period. I was open to anything. Anything, pitch it, I'll do it or find space for it. The only people who ever replied and actually used the space were my buddhist dharma friends (white), an Asian theatre group, and white friends from college. During this period I actually started earning money in TV and I have donated to different projects, the overwhelming majority of which have been by black artists. In the few instances I've donated to non people of color I get a thank you note, praise, follow-up with progress reports. For the black artists I get a 'coolcool, thanks, whatevs' vibe and then radio silence, no follow-up reports. Some times I get an impersonal e-invitation to the show up later for an additional fundraiser or to pay some more money. I feel like I'm in danger of becoming a black artists who only helps out white people or who helps out white people the majority of the time b/c I actually get a response that's in alignment with my middle-class etiquette. So I'm trying to change...look at things differently. But I also feel like part of privilege is knowing etiquette and how to use connections to get what you want, and my community is at a severe disadvantage b/c of cultural habits, subconscious pessimism, doubt, and fear. I know it's not PC, but...just saying...

Wednesday, August 24, 2016

15 Observations from writer/director Billy Ray

My WGA mentor Billy Ray ("Shattered Glass, "Captain Phillips," "The Hunger Games") invited me to an AFI screening of his new Amazon episodic "The Last Tycoon." Afterward he gave a master class in what it takes to be writer who is transitioning into directing. It's the first time this year I've attended a screening Q&A and had to whip out my notepad to write down all the advice. He even had clips ("Body Heat" and "The Godfather") to illustrate the camera subtext.

1. goal of a writer/director is to beat the page. If it's a faithful rendering of what you wrote down, then you are failing.

2. everyone knows that the camera captures subtext which means it must be stuff the character DOES NOT want to reveal. Make sure the actors know this when you are doing close-ups.

3. to get an actor to do something give them a verb, but also remember to give notes to the other actor in the scene to incite something in them.

4. in auditions get your lazy ass up and go out and grab the actors, shake their hands. Don't let the casting assistant just usher them in or you'll begin to feel nothing.

5. never engage in power struggle with actor in front of ppl. Clear the set or go into an office.

6. right before you yell "action" ask the actor 'do you know what you want?' so that it's at the top of their minds and not the blocking, camera, and the million other things.

7. right before you yell 'cut' give it five seconds. Tell the actors that. There will always be something in those quiet extra 5 secs that can be used.

8. know an actor's 'bag of tricks' and force them out of it. So if it's actor who overuses their hands make them do the intense angry scene with their hands folded or under their arms, make them fight against that urge and it creates natural dynamic tension.

9. change off-camera dialogue actors are responding to so that they keep it fresh.

10. change your socks at lunch. When you're on set and standing all day, your feet will start to burn. New pair of socks means new legs for second half of day.

11. ambition got you here, but paranoia keeps you here.

12. shake everyone's hand on set and thank them. It will take the crew about 2-3 days to realize you're not an asshole.

13. always deflect credit for anything good on to other depts and take blame for anything bad. You're the director! You get too much credit anyway, give it to others.

14. as a writer/director you must reject 'a film by' credit if offered. It's egotistical and a lie. Woody Allen doesn't use 'a film by' credit. Movies are a director's medium. We all know who directed the freaking film. You don't need to then stamp the entire thing as your 'creation.' And you don't get any more money for doing it so turn it down. 'A film by' credit is satan's ass crack!

15. Read "Directing Actors" by Judith Weston. It has a lot of the stuff in here. Write them down on notecards and have them in your shirt pocket on set so it looks like you're pulling from your own notes.

Thursday, August 4, 2016

Scandal Monsters and Right-Wing Delusions

Oliver North accused Obama of bending over to the Iranian administration because the US sent money to Iran under an pre-signed agreement. Oliver North: the man whose name is synonymous with Iran-Contra, arguably the biggest illegal arms scandal in our nation's history that gave weapons to, wait for it...Iran! And this has been the surreal MO of the Republican party, which is to accuse the other party of doing the very thing they are intentionally and illegally doing. You get Oliver North, a disgraced officer involved with Iran, to accuse the Obama admin of being corrupt for following through on an agreement. They accuse Clinton of Benghazi conspiracy and launch 7 investigations which all find her innocent b/c the Congress rejected the State Department's request for more security in the embassies and consulates around the world. They obsess about Dems making the country weaker when the largest terrorist attack in our nation's history happened under a snoozing Republican president who received several warnings about a major attack and was literally caught reading a freaking children's book on TV when he heard the news...and he sat there, panicked, and had to be guided up from his tiny chair and out the door to go do his job. They accused Acorn of rigging the elections when Republicans are passing laws in each state to rig the elections by making it harder for Blacks and Latinos to vote. Conservatives say 'blue lives matter' and then consistently try to undercut policemen and firemen's pay and healthcare...so blue lives only matter when they're killing black people on camera. And 45% of the country (and over 60% of working class white people) vote for this. They are being lied to in such a strong and surreal way that they can't even accept the depth and detail of the deep con being played on them.

We wait and wonder if the next scandal, the next act of incompetence, the next Trump moment, the next audacious litany of lies will be the breaking point or at least wake people up from the irrational and 100% fictional bubble they live in. They drink lead-contaminated water, breathe coal-dusted air, watch their unions get eviscerated by conservative politicians while they scream about executing a citizen who has dedicated her life to healthcare, child care, equal pay for all. Love trump hates. But hate is like a bad drug that a lot of people can't kick, even when it's killing them. They keep looking for the target to hate, they keep contriving the next Clinton scandal.

For the record there was never a Whitewater scandal. It was a bad real estate deal. Nor was there a Travelgate scandal. A new incoming president let go a few people in his own White House. Nor was there Vince Foster scandal, Benghazi scandal, or email scandal. The Clinton have been the most investigated couple in our nation's history and the biggest thing they have come up with in the last 20 yrs was 1) Bill Clinton lied to hide an affair 2) Hillary Clinton using a private email server like her previous two predecessors who were Republican-appointed Secretaries of State 3) Secretary Clinton sending 4 classified emails on private server which was really 1 because 3 of the emails were incorrectly labeled as classified. One email out of 33,000. And yet a record number of people trust her less than a man who has been involved in over 3,000 lawsuits, knowingly ripped off families, didn't pay contractors who completed work for him, smears war heroes like John McCain and the Khan family, claims Mexicans have a penchant for being rapists and murderers, wants to ban Muslims from entering the US, and has shady ties to a Russian dictator running a kleptocracy that kills its own citizens with impunity.

A monster has been created through a bad habit. And we keep having to face this same demon again and again, during every election. I'm hoping Trump will inadvertently slay this beast of delusions. 

Wednesday, August 3, 2016

GET WHAT YOU WANT: August 2016

1.
Brave New Film
Deadline: August 5th
website:http://www.bravenewfilms.org/fellowships?utm_campaign=fellow_rs_jis&utm_medium=email&utm_source=bravenew

Our program offers social justice advocates from communities of color and/or economically marginalized communities a one year, paid opportunity to work with Brave New Films and learn how to create and distribute media that makes a difference. By working alongside experienced staff, fellows build practical skills in digital storytelling, production, post-production, campaign strategies, outreach, and social media. Fellows spend the majority of the year in one of three areas: outreach, post-production, or social media. In the last two months they rotate through the other two areas. The fellowship equips activists to use film to support activism, and prepares them for  jobs in social justice advocacy, media, and filmmaking.
To complement the on-the-job learning, fellows also meet and network with film directors, activists, journalists, politicians and organizers, and they receive training in camera operation, database management, fundraising, and more.
As compensation, each fellow receives $772/week for the duration of the fellowship, medical and dental insurance, and holidays/hiatus pay. Fellows work full time (M-F, 9:00-6:00) in our Culver City, CA office.
For non US residents, we will assist with visa/immigration processing and can compensate a portion of travel. However, relocation/housing is not provided by Brave New Films.
This fellowship is a perfect fit, if you….
Feel passionate about social justice
Aspire to use film to support your activism
Love to learn by doing and pick up skills quickly through on-the-job training
Welcome opportunities to gain invaluable work experience
Appreciate a good story and can tell a compelling one visually
Possess a heart for progressive politics.

2.
Yale Drama Series Prize
Deadline: August 15th
website: https://yup.submittable.com/submit

The Yale Drama Series is seeking submissions for its 2017 playwriting competition. The winning play will be selected by the series' current judge, distinguished playwright Nicholas Wright. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of his/her manuscript by Yale University Press, and a staged reading at Lincoln Center Theater.

There is no application form or entry fee.
Please follow these guidelines in preparing your manuscript:
1. This contest is restricted to plays written in the English language. Worldwide submissions are accepted.
2. Submissions must be original, unpublished full-length plays written in English. Translations, musicals, and children's plays are not accepted. The Yale Drama Series is intended to support emerging playwrights. Playwrights may win the competition only once.
3. Playwrights may submit only one manuscript per year.
4. Plays that have been professionally produced or published are not eligible.  Plays that have had a workshop, reading, or non-professional production or that have been published as an actor’s edition will be considered.
5. Plays may not be under option or scheduled for professional production or publication at the time of submission.
6. Plays must be typed/word-processed, page-numbered, and in standard professional play format.
7. The Yale Drama Series reserves the right to reject any manuscript for any reason.
8. The Yale Drama Series reserves the right of the judge to not choose a winner for any given year of the competition and reserves the right to determine the ineligibility of a winner, in keeping with the spirit of the competition, and based upon the accomplishments of the author.

ELECTRONIC SUBMISSIONS:
The Yale Drama Series Competition strongly urges electronic submission. By electronically submitting your script, you will receive immediate confirmation of your successful submission and the ability to check the status of your entry.

Electronic submissions for the competition must be submitted no earlier than June 1 and no later than August 15, 2015.

If you are submitting your play electronically, please omit your name and contact information from your manuscript.  The manuscript must begin with a title page that shows the play's title, a 2-3 sentence keynote description of the play, a list of characters, and a list of acts and scenes. Please enter the title of your play, your name and contact information (including address, phone number, and email address), and a brief biography (optional) where indicated in the electronic submission form.

If you would like to submit an electronic copy of your manuscript please go to:
https://yup.submittable.com/submit.


3.
Blue Ink Playwriting Award
Deadline: August 31st
website: American Blues Theatre 

The winning play will be selected by Producing Artistic Director, Gwendolyn Whiteside, and the Ensemble. The winner of this annual competition will be awarded the Blue Ink Playwriting Award of $1,000 and receive a staged reading at American Blues Theater in Chicago. There is a $5 administrative fee. Please follow these guidelines in preparing your manuscript:
- This contest is restricted to plays written in the English language. Worldwide submissions are accepted.
-Submissions must be original, unpublished full-length plays written in English. Translations, musicals, and children’s plays are not accepted.
- Playwrights may submit only one (1) manuscript per year.
- Plays that have been professionally produced or published are not eligible. Plays that have had a workshop, reading, or non-professional production will be considered.
- Plays may not be under option or scheduled for professional production or publication at the time of submission.
- American Blues Theater reserves the Right-of-First-Refusal to produce the World-premiere of the winning manuscript for (1) year beginning with the public announcement in March 2017.
-Plays must be sent as a Word document or pdf file to blueink@americanbluestheater.com.
- Send the $5 administrative fee to: American Blues Theater, 1016 N. Dearborn, Chicago, IL 60610 or pay online here


4.
Image Theater: Naughties
Deadline: August 31st
Website: http://www.imagetheater.com/

Image Theater of Lowell, MA (www.imagetheater.com) is seeking submissions of short plays, sketches, songs, or monologues for our “adult only” evening of original works to be performed on Saturday, November 12, 2016.

We are looking for sexy, silly, scandalous pieces, limit four characters or less, single set… have fun, because that’s what this evening of theater is all about! To submit your play, monologue, or song, please send your work in a WORD format, along with full contact information on the cover page. Songs may be sent in Mp3 format, but lyrics should be included separately, along with sheet music.

Heading of submission: “ Naughties 2016”

Submission deadline: August 31st, 2016 no exceptions

E-mail your submission(s) to: imagetheater@comcast.net, attention Jerry or Ann.

Image Theater is a not for profit theater company that has produced the original works of playwrights since 2005.


5.
Radcliffe Institute at Harvard Fellowship
Deadline: September 15th
Website: http://www.radcliffe.harvard.edu/fellowship-program/how-apply

Radcliffe Institute is accepting fellowship applications from the creative arts until September 15th. Fellows receive office or studio space and access to libraries and other resources of Harvard University during the fellowship year, which extends from early September 2017 through May 31, 2018. Stipends are funded up to US$75,000 with additional funds for project expenses.Stipends are funded up to $75,000 for one year with additional funds for project expenses. Some support for relocation expenses is provided where relevant. If so directed, Radcliffe will pay the stipend to the fellow’s home institution. We work with fellows who have families to help with relocation issues for a smooth transition.
Fellows receive office or studio space and access to libraries and other resources of Harvard University during the fellowship year. Visual artists and film, video, sound, and new media artists may apply to come for either one or two semesters. In the event that they come for one semester, the stipend is $37,500. Fellows are expected to be free of their regular commitments so they may devote themselves full time to the work outlined in their proposal. Since this is a residential fellowship, we expect fellows to reside in the Boston area during that period and to have their primary office at the Institute so that they can participate fully in the life of the community.

6.
Cullman Fellowship
Deadline: September 30th
Website: https://nypl.onlineapplicationportal.com/misc/guidelines/default.aspx
Notification: March 2017
Award Period: September 6, 2017 - May 26, 2018
Stipend: $70,000

The Dorothy and Lewis B. Cullman Center for Scholars and Writers supports projects that draw on the research collections at The New York Public Library’s Stephen A. Schwarzman Building (formerly the Humanities and Social Sciences Library). The Center looks for top-quality writing from academics as well as from creative writers and independent scholars. It aims to promote dynamic conversation about the humanities, social sciences, and scholarship at the highest level — within the Center, in public forums throughout the Library, and in the Fellows’ published work.
Candidates who need to work primarily in The New York Public Library’s other research centers — The New York Public Library for the Performing Arts, the Schomburg Center for Research in Black Culture, and the Science, Industry and Business Library — are not eligible for this fellowship.
In order to avoid real or apparent conflicts of interest, the Cullman Center for Scholars and Writers does not accept applications from New York Public Library staff members or their partners, or from people active on the Library’s Board of Trustees, Board Advisory Committees, or Library Council.
Please visit www.nypl.org/research-collections for detailed information about the collections of the Stephen A. Schwarzman Building at Fifth Avenue and 42nd Street.
Fellows are required to work at the Cullman Center for the duration of the fellowship term and may not accept other major professional obligations during the term. Some fellows may have a few prior commitments, but must limit research trips, attendance at scholarly meetings, and speaking engagements to short periods of time. Anyone who needs to be away for more than two days must notify the Center's Director or Deputy Director. The Library will pro-rate fellowship stipends for fellows who spend too much time away from the Center.
Fellowships will not be granted to post-doctoral fellows or to applicants doing graduate-school dissertation research.
The Cullman Center will not accept dossier letters in place of new letters of recommendation.
Fellows must be conversant in English.
Completed applications and supporting materials — research proposal, Curriculum Vitae, letters of recommendation, and creative writing sample or art work sample — must be submitted by 5 p.m. EST on September 30, 2016.

7.
Marin Theatre Company’s Sky Cooper American Play Prize
Deadline: August 31st
Web: www.marintheatre.org/productions/new-plays-program/new-play-awards/

Norton J. “Sky” Cooper established the New American Play Prize at Marin Theatre Company in 2007 to celebrate the work of the American playwright and to encourage the creation of bold, powerful new voices and plays for the American stage. The Sky Cooper Prize will be awarded annually to either an established or emerging playwright for an outstanding new work. The play selected as the Sky Cooper winner will receives a $10,000 award and a developmental workshop as part of the theater’s annual New Play Reading Series. The winning play will also be considered under option for a full production at MTC as part of the theater’s annual main stage season.

Sky Cooper New American Play Prize Guidelines
• Submissions will be accepted from August 1 – 31, 2015
• Submissions must be unpublished, original full-length plays in any genre.
• Musicals, translations, individual one-acts, and any play submitted in a previous year for the Sky Cooper or David Calicchio Prizes are not eligible.
• The submitted play may not have received or be scheduled for a full-scale, professional production prior to submission (plays that have had a workshop, reading, or non-professional production are eligible).
• Playwrights must be citizens of the United States.
• Only one submission per playwright is allowed each year; you may submit the same play for both prizes.
• For the Sky Cooper prize, the submission is required to include a professional recommendation.

About: Now in its tenth year, Marin Theatre Company's Sky Cooper New American Play Prize is awarded to an emerging or established playwright for an outstanding new work, and is given a $10,000 cash prize and option for production on MTC's main stage.These prizes serve to further MTC’s commitment to the development of new plays as a central component of its artistic programs.

PHASE I: Submit a completed online submission form and 10 pages of consecutive sample dialogue.
Agents may submit full scripts of their client’s work. Please do not send full scripts for Phase I unless via an agent or professional representation; unsolicited scripts will not be read.
We prefer sample pages attached to the online submission form in .pdf format, with last name, first name, (title of the play) as the document title. For example: Wilson, August (Seven Guitars).pdf.
PHASE II: Selected submissions will be invited to send full scripts for Phase II. All full scripts that have been solicited after Phase I will be read by a member of the Marin Theatre Company artistic staff.
All scripts will be read by a member of the Marin Theatre Company artistic staff. Please do not send more than the requested materials. Do not send videos, CDs or DVDs. Incomplete submissions will not be considered. Due to the high number of submissions, not every playwright will receive a response to their Phase I submission. No materials will be returned.
Winners will be chosen from among submitted and solicited scripts; final selections are made by Jasson Minadakis, Artistic Director.


8.
MacDowell Colony Residency   
Deadline: September 15
Website: http://www.macdowellcolony.org/apply.html

The MacDowell Colony nurtures the arts by offering creative individuals of the highest talent an inspiring environment in which to produce enduring works of the imagination. Residencies are awarded based on a completed application to the Colony. Applications are chosen by a peer-review panel. Artists may apply only ONCE within a 24-month period - select the residency period that best suits your schedule. We are currently accepting applications for our winter spring 2017 residency season. The deadline is September 15, 2016.
The MacDowell Colony provides time, space, and an inspiring environment to artists of exceptional talent. A MacDowell Fellowship, or residency, consists of exclusive use of a studio, accommodations, and three prepared meals a day for up to eight weeks. There are no residency fees. MacDowell Fellows are selected by our admissions panels, which are comprised of a revolving group of distinguished professionals in each artistic discipline who serve anonymously for three years.
The Colony accepts applications from artists working in the following disciplines: architecture, film/video arts, interdisciplinary arts, literature, music composition, theatre, and visual arts. The sole criterion for acceptance is artistic excellence, which the Colony defines in a pluralistic and inclusive way. MacDowell encourages applications from artists representing the widest possible range of perspectives and demographics, and welcomes artists engaging in the broadest spectrum of artistic practice and investigating an unlimited array of inquiries and concerns. To that end, emerging as well as established artists are invited to apply. Applicants who are in a degree program as of the date of application are ineligible for a residency and therefore cannot apply.
Artists may apply only once every 24 months. MacDowell will only accept applications for the next deadline. Please refer to the applications dates in the column on the left for open application time periods.  Applicants will be notified of admission status approximately 10 weeks after the applicable deadline. Winter/Spring residency takes place Feb 1, 2017 -May 31, 2017. Notification: November 25th     
Processing Fee: A nonrefundable processing fee of $30. Payable by Credit or Debit Card.  
 
9.
Princeton Arts Fellowship
Deadline: September 19th
Website:  http://arts.princeton.edu/fellowships/

The Princeton Arts Fellowship, funded in part by The Andrew W. Mellon Foundation, will be awarded to artists whose achievements have been recognized as demonstrating extraordinary promise in any area of artistic practice and teaching. Applicants should be early career composers, visual artists, conductors, musicians, choreographers, filmmakers, performers, directors, or performance artists—this list is not meant to be exhaustive—who would find it beneficial to spend two years working in an artistically vibrant university community. Princeton Arts Fellows spend two consecutive academic years (September 1-July 1) at Princeton University and formal teaching is expected. The normal work assignment will be to teach one course each semester subject to approval by the Dean of the Faculty, but fellows may be asked to take on an artistic assignment in lieu of a class, such as directing a play or creating a dance with students. Although the teaching load is light, our expectation is that Fellows will be full and active members of our community, committed to frequent and engaged interactions. An $80,000 a year stipend is provided.
Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply.  Holders of Ph.D. degrees from Princeton are not eligible to apply.


10.
Princeton Hodder Fellowship
Deadline: September 19th
Website: http://arts.princeton.edu/fellowships/

 The Hodder Fellowship will be given to artists and writers of exceptional promise to pursue independent projects at Princeton University during the academic year. Potential Hodder Fellows are writers, composers, choreographers, visual artists, performance artists, or other kinds of artists or humanists who have “much more than ordinary intellectual and literary gifts”; they are selected more “for promise than for performance.” Given the strength of the applicant pool, most successful Fellows have published a first book or have similar achievements in their own fields; the Hodder is designed to provide Fellows with the “studious leisure” to undertake significant new work. Fellowships are for one academic year and provide the opportunity to pursue an independent project. Hodder Fellows spend an academic year (September 1-July 1) at Princeton, but no formal teaching is involved.
Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply.  An $80,000 stipend is provided for this 10‐month appointment.


11.
Playwrights First
Deadline: September 20
Website: http://www.playwrights-first.com/how-to-submit.html

Playwrights First consists of a panel of judges looking for original unproduced plays with a unique point of view, founded by Carolyn French.
Requires one, original, unproduced play in English. Hard copies no longer accepted. No adaptions, translations, or musicals will be accepted. Include a summary of your playwriting history with your play.  $1,000 grant and a professional reading when feasible.  

12. 
Brooklyn Arts Fund
Deadline: September 21st
Website:https://brooklynartscouncil.submittable.com/submit/60382

The Brooklyn Arts Fund aims to cultivate Brooklyn’s artists, arts organizations, and audiences through its support of performances, exhibitions, pop-up galleries, workshops, reading series, festivals, public art and more, all across the borough. This program is appropriate for arts and culture makers developing projects that contribute to the rich creative experiences that engage audiences all across the borough. Competitive applicants will clearly identify the audience they strive to reach, and articulate how the project’s outcome(s) will impact the cultural life of the borough. 

This program is appropriate for arts and culture makers developing projects that contribute to the rich creative experiences that engage audiences all across the borough. Competitive applicants will clearly identify the audience they strive to reach, and articulate how the project’s outcome(s) will impact the cultural life of the borough. Brooklyn-based 501c3 organizations and individual artists with Brooklyn residency may apply directly to this program. Program areas of funding include: dance, film/video/media, folk arts, interdisciplinary arts literary arts, multi-disciplinary projects, music/opera, theater/musical theater, performing arts community education and visual arts/crafts.

Funding is made possible through the generous support of the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs (DCA) in partnership with the New York City Council and Brooklyn Borough President Eric L. Adams. Additional support is provided by MetroPlus Health Plan.

Visit brooklynartscouncil.org for complete guidelines and a downloadable PDF of application questions, for your reference. In order to apply, you will need to scroll down and create an account with Submittable.