216

Introduction: A Vibrant Hybridity

1. Rick Lowe, recognized in both contexts, raised this important question with Creative Time program director Nato Thompson at that organization’s 2013 convening.

2. Finkelpearl discussed these ideas at a public forum at The New School for Social Research in New York City on 19 February 2013.

3. Choreographer Liz Lerman develops related ideas about collaboration in her book Hiking the Horizontal (2011).

4. See Schechner (1973).5. Theatre of the Oppressed is a body of dramatic techniques that reposition

spectators to actively rehearse strategies for personal and social change. See especially Boal (1979, 1992, 1995).

6. Kathie deNobriga articulated the organization Alternate ROOTS’ sense of the meaning of community, from whence I draw the words “place, spirit, and tradition.” She then sums up community in a very personal way: “those peo-ple who would call to see if I was okay if my car hadn’t moved in three days” (1993, p. 12).

7. Shanna Ratner is the Principal of Yellow Wood Associates, Inc. specializing in rural community economic development.

8. The conversation took place on 8 January 2013, at the Westside Jewish Community Center in Manhattan as part of Lerman and Zollar’s residency there.

9. Another rich context for “performance and” not explored in this book is reli-gion and spirituality. As Rabbi Jill Hammer explained to me in an interview, spiritual life requires leaders who are artists and/or collaborate with artists. Because, she said, “Art expresses the creative force of human beings ... our desire to make something, to bring to the world what isn’t there already ... for me that’s a deeply spiritual impulse. Art connects to our ability to make meaning; it lies close to the impulse to understand why things are as they are, what we are doing here” (2014).

1 The Breadth of Theatrical Territory

1. Periods of great social turmoil are often characterized by alignment of expres-sive culture and political movement building. The futurists and the Russian Revolution, the Nuremberg Party rallies and the rise of Nazism, troupes of actors that accompanied troups of soldiers as the Chinese Revolution spread across that land, theaters that served as cultural wings to social movements taking place across the US and Europe in the 1960s and 1970s – political movements of all stripes have often communicated to the public through performative means.

Notes

Notes 217

2. Thanks to Jerry Stropnicky, who cited this work in his essay on MicroFest: Detroit, “A Community of Practice: NET Learning in Place” (Network of Ensemble Theaters n.d.).

3. The power of culture to support a sense of self and identity among people lacking the capacity to resist US economic domination resonated with many NET participants, such as those from regions controlled by multinational corporations. Many indigenous people resisted US annexation of Hawai’i. An excerpt of one account published in The Orange County Register begins, “Poka Laenui [director of the Institute for the Advancement of Hawaiian Affairs] pledges his allegiance to the sovereign nation of Hawai’i, not to the United States government.” Missionaries to the islands beginning in 1820 became sugar planters and politicians whose powers soon eclipsed that of Hawai’i’s ruling monarchy. The planters wanted Hawai’i to become part of the US, their major market, to avoid paying tariffs. The US minister to Hawai’i, John L. Stevens, brought US Marines to Honolulu to stage a coup, after which Stevens gave sovereignty to the mostly American planters who supported it. President Cleveland fired Stevens and apologized to the Hawai’ian queen, who had resigned to avoid bloodshed. But the next president, McKinley, recognized the authority of the annexation and so it stood (Sforza 1996).

2 Partnering

1. All quotes in this section are from an essay Rohd published online at Howlround, 12 January 2013.

3 Universities, Performance, and Uncommon Partnerships

1. I draw from a grant proposal to the Teagle Foundation that Imagining America National Advisory Board member Amy Koritz and active member/Macalester College representative Paul Schadewald developed with my input. The pro-posal was funded; Koritz and Schadewald are the principal investigators.

2. Theatre of the Oppressed – NYC generates theatre troupes that tour var-ied  communities using techniques from the arsenal of Theatre of the Oppressed, created by Augusto Boal. Typically, short plays provide a platform for spectators to replace a struggling character and enact possible solutions to an oppressive situation with which they are dealing.

3. For more about Imagining America, including its statement of mission, vision, values, and goals, visit www.imaginingamerica.org.

4. The Curriculum Project can be downloaded from Imagining America’s website.

4 Art and Culture in Neighborhood Ecosystems

1. For a complete list of NOCD-NY members, see www.nocd.org.2. Caron Atlas does similar work nationally as director of Arts and Democracy,

which “links arts and culture, participatory democracy, and social justice ... [and] works to increase civic engagement among people who have been tra-ditionally disenfranchised and to build closer ties between arts and culture

218 Notes

and sustained and strategic activism” (animatingdemocracy.org/organization/arts-democracy-project).

3. Sananman initiated Groundswell in 1996 “to bring together professional art-ists, grassroots organizations, and communities to create high-quality murals in underrepresented neighborhoods and inspire youth to take active owner-ship of their future by equipping them with the tools necessary for social change” (www.groundswellmurals.org).

4. See also www.brooklyncommunityfoundation.org/brooklyn-insights.

5 Cultural Diplomacy as Collaboration

1. They were China, Ecuador, Egypt, Ghana, India, Kenya, Kosovo, Morocco, Nepal, Nigeria, Pakistan, the Philippines, Sri Lanka, Turkey, and Venezuela.

2. Action Lab was created to promote dialogue in the Hunts Point section of the Bronx through collaborative art-making activities.

3. All direct quotes are from interviews conducted in the Philippines during the week in June I carried out the evaluation.

4. During the week I spent in March 2012 evaluating Osorio’s project, I interviewed the seven students as well as their instructor.

5. All direct quotes come from interviews I conducted while evaluating this project in Venezuela in June 2012.

6. Of the 11 projects I visited, at only one did the artists feel inhibited by the State Department. That was the US art collective Ghana Think Tank, that manages a worldwide network of informal think tanks creating strategies to resolve problems in the “developed” world, thus inverting the paradigm. Of 20 problems that Think Tank wanted to focus on in Morocco, the State Department did not approve six of them.

Coda: The Future of Performance with Uncommon Partners

1. Roadside developed Thousand Kites from stories of people directly involved in incarceration. Other people can personalize it for their own productions by inserting their own stories and songs.

219

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228

Action Switchboard, 208activated spectators, 116ACT UP, 58aesthetics, 191, 202

aesthetic labor, 25characteristics of aesthetic space, 13integration with social engagement,

18, 27, 34–5, 36, 37, 45, 46, 53, 65, 140

aging, and Penelope Project, 108–13Alexander, Buzz, 121Alexander, Jane, 179Alfaro, Luis, 58–9, 62Alinsky, Saul, 14Alliance for California Traditional

Arts, 146, 154Alliance Française, 180Almond, Todd, 56Alternate ROOTS, 10, 21, 29–30, 35,

83, 207Cry You One (CY1), 204founding mission, 30Partners in Action, 191, 204Resources for Social Change, 79ROOTS Week, 191

Amenkum, Ausettua Amor, 84America Hurrah, 11–12American Festival Project, 137Animating Democracy Initiative, 14, 74

areas of art’s social impact, 37Critical Perspectives, 149evaluation of community arts, 155

Arai, Tomie, 132–3Arena Stage, 18

collaboration with Cornerstone Theater, 31–4

A Community Carol, 32–4Armstrong, Louis, 159–60Arsenault, Amelia, 163, 167, 170art

bringing people together, 68broad terrain of, 9as civic practice, 6

contrasting philosophies of, 28creativity, 67–8imagining of something else, 17integrating into social contexts:

appreciation of artist/scholar cultures, 196–7; assessment, 201–3; inclusion of social purposes in artists’ education, 193–6; larger ecosystems, 211–15; networks and organizing, 205–11; role of writers, 197–201; support from funders, 203–5

local action, 9social initiatives, 3social practice, 5–7

Artaud, Antonin, 11The Theatre and Its Double, 67Theatre of Cruelty, 11

Artists-in-Context, 7, 154ArtPlace America, 151ArtSpot Productions, 18, 19

Beneath the Strata/Disappearing, 41collaboration with Mondo Bizarro,

41–6Cry You One, 42–6, 53, 70–1,

198: funding, 204–5; transdisciplinarity, 79–83, 92

Loup Garou, 41Lower 9 Stories, 41

Arvold, Arnold, 59Ashé Cultural Arts Center, 119–21, 149Asian-American Theater Lab, 62assessment

of art, 201–3of cultural diplomacy projects,

188: jazz ambassadors, 189–90; smARTpower, 182

see also evaluationA Studio in the Woods (ASITW), 41Atlas, Caron, 145, 146–7, 149, 150–1Augustine, Seth, 164

puppet workshops in Venezuela, 175–9

Index

Index 229

Baker, Ella, 67Baker, George Pierce, 97Bamuthi, Marc Joseph, 215Banks, Daniel, 37, 53Basting, Anne, 20, 114–15

Islands of Milwaukee, 115Penelope Project, 108–13, 115,

126–8, 210Bauman, Maria, 136–7Bebelle, Carol, 119, 120, 129, 149,

156Becker, Jeff, 53Bedoya, Roberto, 152, 155, 201Belafonte, Harry, 59Belfiore, Eleonora, 24Bell, John, 198Bennett, Oliver, 24Berry, Wendell, 147Bessa, Sergio, 159Bilger, Wenzel, 161Bishop, Claire, 7, 13Blade of Grass, 204Blair, Brent, 122Bloomsburg Theatre Ensemble, 30, 54,

58, 60Boal, Augusto, 23, 24, 54, 116

characteristics of aesthetic space, 13legislative theatre, 14parallel government, 178Theatre of the Oppressed, 12,

13–14, 67Bond, Edward, 23, 25Bond Street Theater, 53Bonner, Trap, 39Bookchin, Murray, 16–17Borderland Foundation, 212–14

Sejny Chronicles, 212–13Borgatti, Stephen P., 205Bott, Kevin, 116, 123

DREA(M)3 Freedom Revival, 116–18boundary work, 89Bowers, Martha, 104–5Boyer, Ernest, 196Boyte, Harry, cult of the expert, 66,

102, 124Brazell, Daniel, 154Brazil, parallel government project,

178Bread & Puppet, 16, 198

Brecht, Bertolt, 67British Council, 180Bronx Museum, 20

smARTpower, 159, 160, 163, 184Brooklyn Community Foundation, 151Brook, Peter, Marat/Sade, 11Brownsville Recreation Center, 49Brozowski, Elena, 177Bruguera, Tania, 140Building Home project, 122–3Bundy, James, 62Butler, Judith, 12

Caceres, Betsey, 175California Endowment, 149, 154

Building Healthy Communities, 146Cameron, Ben, 35Cantor, Nancy, 20

campus–community partnerships, 125: scale of, 126–7

civic professionalism, 126community of experts, 102educator-administrators, 127–8higher education and the arts, 124–5

Carey, Alison, 31, 32Caribbean Cultural Center, 119Carlson, Marvin, 22, 143Carmichael, Joe, 41Carmichael, Lucianne, 41Carpetbag Theater, 202Carson, Jo, 45, 54, 79Casals, Gonzalo, 141, 142Catalyst Initiative, 205Catherwood-Ginn, John, 105, 122Catholic Charities, 6, 18, 70

Sojourn Theatre and 2012 national conference, 71–4, 90

Cattaneo, Anne, 27, 53Center for Performance and Civic

Practice, 205Centro Cultural Chacao (CCC),

174–5, 177–8Chaikin, Joseph, 11Chavez, Hugo, 175Chicago, 61Children’s Aid Society, 48–9Chinatown History Project, 132–3

see also Naturally Occurring Cultural Districts-New York

230 Index

Chitrakar, Sujan, 173citizenship, 100City University of New York (CUNY),

85–6, 94civic practice, 6civic professionalism, 19, 99–102, 126

career paths, 101–2civic component of, 99–100impediments to, 102long-term social engagement

through the arts, 108: Penelope Project, 108–13, 115, 126–7

partnerships, 100–1short-term social engagement

through the arts, 102–8: How to End Poverty, 105–8; Town Hall Nation, 103–5

civil rights movement, 9, 22Free Southern Theater (FST), 74–8

Clear Creek Festival, 192Cleveland, Bill, 194Clifford, James, 27–8Clinton, Bill, 161Clinton, Hillary Rodham, 159, 183,

184–5Cocke, Dudley, 57, 60, 63, 197,

199–200Thousand Kites, 206

Cocker, Emma, 25–6Cohen, Cindy, 121Cohn, Melanie, 138–9, 150collaborations

artists’ shaping of overall vision, 7being in the moment together, 68benefits/challenges of performance

in cross-disciplinary social initiatives, 66–70

common language, 69–70community arts, 4cross-sector collaborations, 15–17,

24–5cultural awareness, 68–9education, 83–7horizontal structure of, 8importance of, 8integrating art into social contexts:

appreciation of artist/scholar cultures, 196–7; assessment, 201–3; inclusion of social purposes in

artists’ education, 193–6; larger ecosystems, 211–15; networks and organizing, 205–11; role of writers, 197–201; support from funders, 203–5

joint ownership, 69–70modes of crossing disciplinary

borders, 70–1performance in uncommon

partnerships, 4–5performance’s contribution to, 87–8power imbalances, 69social context of, 3uncommon partnerships, 3vibrant hybridity, 4

collective creation, 12College Unbound (CU), 118–21Colon, Miriam, 51community, 14community arts, 3–4

collaborations, 4Community Arts Network (CAN), 4,

191Community Arts Training (CAT)

program, 194–5community-based theater

alignment with marginalized communities, 29

changes in, 29collaborations, 4collaboration with regional theater,

31–4financial base, 31participatory theater, 13–15producing structure, 31relationship with regional theater,

62–3A Community Carol, 32–4community development, 39–40Community Voices Heard, 148Congreso, 172Conquerhood, Dwight, 84–5Cooper Square Committee, 133Cornerstone Theater, 15, 18, 47, 55

casting local people, 69collaboration with Arena Stage, 31A Community Carol, 32–4Three Sisters ... from West Virginia, 69

Corona Studio, 139

Index 231

countercultural theater, 11Coventry Belgrade Theatre, Theatre in

Education program, 23–4Cowan, Geoffrey, 163, 167, 170Creative Campus, 98creative cities, 144creative placemaking, 152Creative Trust, 109creativity, 67–8

heuristics, 93innovation, 92–3interdisciplinarity, 93transdisciplinarity, 93

CrossRoads Commissioning Project, 52

cross-sector collaborations, 15–17, 24–5

cult of the expert, 66, 102, 124, 128cultural awareness, 68–9cultural diplomacy, 10, 20–1, 53, 159

assessment of projects, 188challenges facing, 159foreign perceptions of country, 160hegemony, 161jazz ambassadors, 159–60:

assessment of, 189–90; comparison with smARTpower, 184–5; photo exhibit, 186–7

possibilities for, 190private sector funding, 187problems for, 179touring artists, 159see also smARTpower

cultural districts, 131cummings, e e, 68Curriculum Project, 119Curry, Mary, 15Czyzewski, Krzysztof, 211–12, 213

Dance Theatre Etcetera (DTE), 195Davis, Eisa, 55Davis, Mark, 65deBessonet, Lear, 18, 49–50, 51, 54,

56, 63De Blasio, Bill, 150, 203–4, 209, 210deNobriga, Kathie, 39Dent, Tom, 77–8Derby, Doris, 9, 59, 74, 75Design for Villages (D4V), 189

devised theater, 61–2distributive leadership, 67diversity, expansion of, 52Domestic Workers United, 49Domingo, Colman, 55Donovan, Shaun, 166Doris Duke Charitable Foundation

Artist Residencies to Build Demand for the Arts Program, 52–3

Creative Campus initiative, 98Downtown Art, 134drama therapy, 5dramaturgy, 53DREA(M)3 Freedom Revival, 116–18DreamYard, 49Drummond, Alexander, 59, 97Dutta, Jayeesha, 82Dwyer, Chris, 203

Eatman, Timothy, 117education

inclusion of social purposes, 193–6interdisciplinarity, 85–6multidisciplinarity, 85performance studies, 83–5role in cross-disciplinary

collaborations, 83–7see also higher education

educator-administrators, 116–18, 127–8

Ehn, Erik, 59808 Urban, 39Ellis, Chris, 188El Museo de Barrio, 141, 142–3, 147

see also Naturally Occurring Cultural Districts-New York

El Teatro Campesino, 16, 40, 58ensemble theater

as community of practice, 35expanding diversity, 52growth of, 60–2increased attention to, 35–6place-based, 30relationship with universities, 98social turn in, 29as system of influence, 35three waves of, 28–9values of, 37see also Honolulu MicroFest (2013)

232 Index

environmental theater, 12Eustis, Oscar, 48, 49, 51evaluation

of community arts, 155; metrics, 142–3, 145, 155

of smARTpower, 163

Federal Theatre Project, 8feminism, 35Fenske, Mindy, 90Fichandler, Zelda, 34Filloux, Catherine, 59Finding Penelope, 109, 111, 112

see also Penelope ProjectFinkelpearl, Tom, 7, 154, 203–4Fisher, Deborah, 204Flanagan, Hallie, 8Florida, Richard, 144Fodor, Kate, 55Ford Foundation, 16, 52, 59

Bangalore for Beginners, 168–71Ford, Kianga

smARTpower project in India, 167–71

‘The Story of This Place’, 168women’s equity, 164

Fortune Society, 49Foundry Theatre, 206, 214, 215Fourth Arts Block, 133–6

see also Naturally Occurring Cultural Districts-New York

Franklin Avenue, Minneapolis, 9Free Southern Theater (FST), 9, 16,

18–19, 22, 58, 59, 65, 70interdisciplinarity, 74–8, 90–1story circle, 76–7Waiting for Godot, 77

Frieze, Deborah, 34–5From the Neighborhood Up, 147–9

see also Naturally Occurring Cultural Districts-New York

Fullilove, Mindy, 149funding, 203–5

bias towards larger organizations, 141–2

Ganz, Marshall, 209–10Garces, Michael John, 62García Márquez, Gabriel, 130

Gardley, Marcus, 56, 62–3Gard, Robert, 59, 97Gardzienice Theater Company, 211Gates, Theaster, 156gentrification, 104, 121, 130, 131, 133,

135, 137, 143, 144, 146, 152–3Ghana Think Tank, 218nGillespie, Dizzy, 159, 184Gilliam, Ryan, 134–5Global Village Project, 191Goethe Institut, 161, 180, 183, 186Goldbard, Arlene, 199Grady, Elizabeth, 188Gramsci, Antonio, 161grassroots theater, 97Graves, Bau, 4Greater Astoria Historical Society, 150Greenfield, Tamara, 133, 134, 135,

145, 146–7, 149, 150Green Papaya, 164, 166, 167, 188–9Greis, Terry, 53Grossman, Rachel, 37Groundswell, 145, 151, 209, 218nGulf Future Coalition, 70–1, 82, 205Gulf Restoration Network, 80, 82

Haft, Jamie, 123Halgin, Daniel S., 205hard power, 159Harris-Kelley, Diedre, 187Harris, Olivia, 85–6Harriss, Bob, 66–7Hart, Jonathan, 68Hartman, Karen, 55Harvie, Jen, 143Hatch, Oren, 186hegemony, 161Heinlein, Robert, 199heuretics, 94heuristics, 93

transdisciplinarity, 93–4higher education, 19, 114–15

campus–community partnerships, 125; scale of, 126–7

civic professionalism, 99–102, 126: career paths, 101–2; civic component of, 99–100; impediments to, 102; partnerships, 100–1

Index 233

cross-sector collaborations: advantages of university base, 114; cross-sector/discipline conversations, 114–15; growing interest in, 114; obstacles to, 113

culture of, 98educator-administrators, 127–8inclusion of social purposes in

artists’ education, 193–4integrating real-world

engagement, 115–16: meeting needs of nontraditional students, 118–21; opportunities for joint educator-administrators, 116–18

long-term social engagement through the arts, 108: Penelope Project, 108–13

as platform for the arts, 124–5preparing students for democratic

participation, 100public good, 99, 100purposes of, 99relationship with ensemble

companies, 98short-term social engagement

through the arts, 102–8: How to End Poverty, 105–8; Town Hall Nation, 103–5

support for art serving aesthetic and social goals, 97–8

support for cross-sector partnerships, 98–9

Hodgson, Sally, 174, 177Holst, Alan, 166Holt, Vicki Takamine, 37Honolulu MicroFest (2013), 28, 36–40

art and social issues, 38–9community development session,

39–40Hawaiian language session, 37–8interracial violence, 208respect for local culture, 37sunrise ceremony, 37workshops, 40

Hopkins, Cynthia, 198Horowitz, Adam, 199Horwitz, Andy, 6–7, 140, 197Houston Advanced Resource Center,

66–7

HowlRound, 208How to End Poverty, 6, 19–20, 105–8Hughes, Jenny, 23, 25Hull-House settlement, 59Hunken, Monica, 123Hurricane Katrina, 41, 42, 46, 84, 92,

147, 149, 191–2Hurston, Zora Neale, 130

idealism, 63–4Imagining America: Artists and

Scholars in Public Life, 10, 20, 99, 207, 210

Assessing the Practices of Public Scholarship, 202–3

DREA(M)3 Freedom Revival, 117–18

marginalization of uncommon partnerships, 192

Penelope Project, 110–11Town Hall Nation, 103–5

Immigrant Movement International, 140

India, smARTpower project, 164, 167–71

innovation, 10creativity, 92–3

interdisciplinarity, 18–19, 74–8, 85–6, 89–91

creativity, 93Critical Interdisciplinarity, 92method appropriation, 90performance studies, 94synecdochic fallacy, 90theoretical pastiche, 90

International Community Arts Festival, 211

Internet, dissemination of writing, 199–200

Irondale Theater Ensemble, 53Irrigate, 201Islenos Heritage and Cultural Society,

42It’s Alright to be Woman, 16Ivey, William, 179

Jackson, Anthony, 24Jackson, Maria Rosario, 143–4, 146,

149, 201, 207

234 Index

Jackson, Maria Rosario – continuedaddressing social issues and

influencing communities, 154affordability and displacement, 153affordable housing, 153creative placemaking, 152evaluating neighborhood-based

arts, 155gentrification, 153networking across sectors, 156–7NOCD’s value to members, 156sustainability of neighborhood-

based arts, 157Jackson, Moose, 43Jackson, Shannon, 7, 90jazz ambassadors, 159–60

assessment of, 189–90comparison with smARTpower,

184–5photo exhibit, 186–7

Jewish Museum (New York City), 14Jim Crow, 74, 78, 189joint ownership, 69–70Jones, Art, 188Joseph, Melanie, 3, 5, 206, 214, 215Joseph, Miranda, 14Joyce, James, 130Junebug Theater, 9, 60, 83

Kamakau, Samuel M., 38Kester, Grant, 7Kirshenblatt-Gimblett, Barbara, 37Klein, Julie Thompson, 18, 19, 71,

102Kline, Nick, 125Koch, Frederick, 59, 97Korza, Pam, 3, 14, 37, 67Kosovo, 161Kuftinec, Sonja, 31, 201Kumu Kahua Theatre, 39

LA Commons, 154Ladia, Lian, 164, 165Lai, Charlie, 132La Jolla Playhouse, 52

Without Walls Festival, 52Landesman, Rocco, 166legislative theatre, 14Leonard, Bob, 53, 57

Directing and Public Dialogue program, 121–3

Leoni, Carmen Sofia, 177Lerman, Liz, 21, 66–7

Blood, Muscle, Bone, 16, 138Levy, Jacques, 11Lincoln Center, 187listening, symbolic power of, 26Littlewood, Joan, 23Living Theatre, 11local action, 130

see also neighborhood-based art and culture

Local Initiatives Support Corporation (LISC), 9

location, and valuation of art, 143London, Scott, 18

applying performance to other outcomes, 57–8

artists/activists, 59changes in professional theater, 58collaboration, 8collaborative engagement, 63dual commitment of artists/

companies, 58–9ensemble theaters, 60–2idealism, 63–4location/place of theater

companies, 59–60map of American theater, 58, 61professional/nonprofessional

collaborations, 55–6relationship between community-

based and regional theaters, 62–3London, Todd, 17Lookingglass Theatre, 53Louisiana Correctional Institute for

Women, 84Louisiana State University, 107Louis, Ross, 84Louisville, University of, 103Lower East Side History Month, 134Lowe, Rick, 156

Project Row Houses, 215Lowry, W. McNeil, 59Lucie, Angel, 176

Mahan, Steve, 125Mapplethorpe controversy, 179

Index 235

Marat/Sade, 11Marcuse, Peter, 17Marsalis, Wynton, 187Marx, Karl, 23Maslon, Laurence, 32, 33, 34Masters, Edgar Lee, 130Matarasso, François, 29Matilda Joslyn Gage Foundation, 117Mattingly, Mary, 188–9

climate change project in Philippines, 163–7

Waterpod Project, 164McCann, Andy, 199McCants, Laurie, 30, 35–6, 206McCormick, Lynn, 154McCrae, Kiyoko, 123McGrath, John, 23Mee, Charles, 103Mendoza, Leopoldo Lopez, 175Meridian International, 186, 187Metelica, Marissa, 85–6MicroFest, see Honolulu MicroFest

(2013)Mill, John Stuart, 159Miner, Stephanie, 118Mondo Bizarro, 18, 19

collaboration with ArtSpot Productions, 41–6

Cry You One, 42–6, 53, 70–1, 198: funding, 204–5; transdisciplinarity, 79–83, 92

Moore, Christopher Liam, 31Morisseau, Dominique, 55Moses, Gilbert, 9, 59, 74, 76

Roots, 75multidisciplinarity, 18, 71–4, 85, 89Museum of Chinese in America, 132

see also Naturally Occurring Cultural Districts-New York

Mutnick, Deborah, 104Mwase, Rebecca, 43, 80Myatt, Julie Marie, 58

narrative, 209National Endowment for the Arts

(NEA), 154, 155, 156, 166, 179see also story; story circle

National Institutes of Health, 91National New Play Network, 58

National Performance Network (NPN), 34–5

natural cultural districts, 131Naturally Occurring Cultural

Districts-New York (NOCD), 10, 20, 130–2, 209, 210

articulating value through interaction with researchers, 149–50

Chinatown History Project, 132–3contributing to policymaking,

150–1creative placemaking, 152El Museo de Barrio, 141Fourth Arts Block, 133–6increasing value through alliances,

147–9linking artists, 146–7From the Neighborhood Up, 147–9networking across sectors, 156–7network of neighborhood-based

cultural districts, 146Queens Museum, 139–41Staten Island Arts, 138–9transdisciplinarity, 146Urban Bush Women, 136–8value to members, 156

neighborhood-based art and cultureaddressing social issues and

influencing communities, 154affordability and displacement,

152–3articulating value through

interaction with researchers, 149–50

artists and cultural organization aligned with, 129–30: Chinatown History Project, 132–3; El Museo de Barrio, 141; Fourth Arts Block, 133–6; Naturally Occurring Cultural Districts-New York, 130–2; Queens Museum, 139–41; Staten Island Arts, 138–9; Urban Bush Women, 136–8

changing narrative of, 150contributing to policymaking,

150–1creative placemaking, 152From the Neighborhood Up, 147–9

236 Index

neighborhood-based art and culture – continued

increasing value through alliances in cultural sector, 147–9

municipal cultural policy, 144–5natural cultural districts, 131networking across sectors, 156–7network validation of art and

culture, 145–7sustainability of, 157valuing artists and cultural

organizations, 141–2: audience/constituency, 143–4; evaluation metrics, 142–3, 145, 155; location, 143

see also gentrificationNepal, smARTpower project, 164,

171–4Network for Transdisciplinary

Research, 91Network of Ensemble Theaters (NET),

10, 18, 30, 34, 53, 58, 206, 207common characteristics of

members, 30Fellows Program, 40–1growing influence of, 36Intersections conference (2014),

97–8motivations behind, 30values of ensemble theaters, 37see also Honolulu MicroFest (2013)

networks, 34–5, 53, 130, 205–11change, 35increasing value through alliances

in cultural sector, 147–9international networks, 211online networks, 208role of, 10

New Dramatists, 55, 62New Orleans, 41–6Ngugı wa Thiong’o, 129, 143, 196–7nongovernmental organizations

(NGOs), smARTpower, 162–3nonprofit theater, 18Nottingham, Open City, 26Nye, Joseph, 159

Occupy movement, 17O’Mealy, Robert, 187

O’Neal, John, 8–9, 10, 57, 59, 60, 65, 74, 76, 83

Free Southern Theater (FST), 9Junebug Theater, 9

One Shanti Road, 171online communities, 200online networks, 208Open Engagement, 207Open Theater, America Hurrah, 11–12O’Quinn, Jim, 52Oregon Shakespeare Festival, 18, 34,

46–8, 55Green Show, 48Julius Caesar, 48values, 46–7

Osorio, Pepon, 164, 171–4Home Visits, 171Resting Stops: An Alternative

Pilgrimage, 172–4smARTpower project in Nepal,

172–4Owens, Mitty, 148

Page, Scott, 126PA’I Foundation, 37Papp, Joseph, 48Parris-Bailey, Linda, 202participatory democracy, 14

DREA(M)3 Freedom Revival, 116–18participatory theater, 13–15, 23–4Penelope Project, 20, 108–13, 115,

126–8, 210Penumbra, 60People’s Light and Theater, 55–6Pepper-Cunningham, Hannah, 43, 80performance and the social

appreciation of artist/scholar cultures, 196–7

approaches to, 10artists in larger ecosystems, 211–15assessment, 201–3being in the moment together, 68benefits/challenges in cross-

disciplinary social initiatives, 66–70

both social and aesthetic conception of, 27

contributions to collaborations, 87–8

Index 237

creativity, 67–8critical potential of, 25cross-sector collaborations, 15–17,

24–5either social or aesthetic conception

of, 18, 27extension beyond aesthetic frames,

66finished artistic productions, 11–13,

23gathering people together, 66inclusion of social purposes in

artists’ education, 193–6locally significant action, 8networks and organizing, 205–11participatory theater, 13–15, 23–4political movements, 8–9practice in active participation, 67problem-solving, 67public events, 66role of writers, 197–201as social practice, 7support from funders, 203–5synthesizing complex content, 66–7ubiquity of, 66uncommon partnerships, 4–5

performance studies, 83–5personhood, and performance, 12Petersen, Kathryn, 55Peters, Scott J., 99, 117Pezold, Blaise, 42, 43, 81Philadelphia, cultural districts, 131Philippines, smARTpower project,

163–7Pillsbury House, 60placemaking, 152political engagement, critique of

models of, 7political movements, and

performance, 8–9politics, process of, 17Portland, 4–5Pottenger, Marty, 203

collaborations, 5home/land/security, 4–5

power imbalances, 69Pregones Theater, 51, 57, 60, 137, 148problem-solving

art practices, 67

heuristics, 93, 94transdisciplinarity, 78, 91

Progress Theatre, 194public scholarship, 99Public Theater, 18, 48–51

Public Works, 48–9, 50: The Tempest, 50; The Winter’s Tale, 50–1

Under the Radar Festival, 197venues, 48

Puerto Rican Traveling Theater, 51

Queens Museum, 139–41see also Naturally Occurring

Cultural Districts-New York

radical theater, 23Rancière, Jacques, 17Randels, Kathy, 41, 42, 43–4, 46, 53,

79, 81, 82, 83, 198education, 83–4Rage Within/Without, 84

Ratner, Shanna, 16Rauch, Bill, 15, 18, 31, 32, 33, 46–8,

54, 55, 62, 63Reddy, Prerana, 140Reeler, Doug, 202–3regional theater

changes in, 29collaboration with community-

based theater, 31–4community participation, 48criticism of, 60ensemble companies, 52expanding diversity, 52financial base, 30–1integrating the local, 52place-based, 30producing structure, 31relationship with community-based

theater, 62–3roots of, 59

relationship building, 68religion, 216nRenner, Marcus, 40Road Company, 122Roadside Theater, 60, 137, 197, 207

Thousand Kites, 206–7, 218nwebsite, 199–200

238 Index

Rohd, Michael, 5–6, 18, 37, 39, 40, 53, 54, 57, 70, 123

2012 Catholic Charities national conference, 71–4, 90

Catalyst Initiative, 205How to End Poverty, 19–20, 105–8Town Hall Nation, 19, 103–4

Roldan, Norberto, 188–9role-play, 67Rolón, Rosalba, 51, 60, 148Rosenstein, Carole, 144–5Royal Court Theatre, 23Rubin, Katy, 100

Sacks, Shelley, 191Sananman, Amy, 145, 150–1Sandberg, Curtis, 186San Francisco Mime Troupe, 15–16,

58Sawyer, Keith, 93Schechner, Richard, 66Scott, Seret, 75Seifert, Susan, 131, 149Sejny Chronicles, 212–13senses, 68SEPINAMI, 175, 176–7Sergi, Matt, 123service learning, 99, 116Shachar, Rachel, 164

puppet workshops in Venezuela, 175–9

Sheingold, David, 205Sidford, Holly, 141–2, 149, 181silence, 25–6

cultures of, 85–6Sill, David, 93Slie, Nick, 41, 43, 44–6, 79–80, 84,

198, 204, 205smARTpower, 7, 20–1, 159–60, 161–4,

183, 210assessment of, 182audio tour project in India, 168–71building on, 180climate change project in

Philippines, 164–7collaborative approach, 161–2comparison with jazz ambassadors,

184–5critique of, 183

democratic ideals, 162dinnerware project in Nepal, 172–4discontinuation of, 180–1evaluation criteria, 163follow-up on projects, 188–9influence of, 181knowledge of cultural context of

projects, 185–6lack of clarity over expectations of,

162nongovernmental organization

hosting of projects, 162–3potential of, 180puppet workshop project in

Venezuela, 175–9strengths of, 180top-down approach, 163value of, 188

Snyder, Larry, 71social change

expressive culture and political movements, 216n

material circumstances, 23models of, 203

Social Impact of the Arts Project, 131social initiatives

art as part of, 3benefits/challenges of performance

in cross-disciplinary, 66–70social movements, cross-sector

collaborations, 15–16social practice

art, 5–7distinction from civic practice, 6performance as, 7visual arts, 6, 7

social world, 3soft power, 159Sojourn Theatre, 6, 18, 70

2012 Catholic Charities national conference, 71–4, 90

community-building workshops, 6How to End Poverty, 6, 105Penelope Project, 109, 113

South Coast Repertory, 52Southeast Kentucky Community and

Technical College, 191Sparks, Ashley, 40speculative fiction, 199

Index 239

spirituality, 216nSporek-Czyzewska, Małgorzata, 211–12Springboard for the Arts, Irrigate

project, 9State Department (United States)

American Arts Incubator program, 188

Bureau of Educational and Cultural Affairs, 162, 166, 167, 180

cultural diplomacy, 10, 20, 159see also jazz ambassadors;

smARTpowerStaten Island Arts, 138–9, 150

see also Naturally Occurring Cultural Districts-New York

State University of New York (SUNY), 100

Steiger, Amy, 103Stern, Mark, 131, 149stillness, 26story, 110, 209–10

see also narrativestory circle, 14, 76–7, 87, 111

see also narrativeStrasberg, Lee, 194street performance, 12Stropnicky, Jerry, 30, 54Student Nonviolent Coordinating

Committee, 9, 18, 70, 74, 78Sturm, Susan, 127Suchy, Trish, 107Syracuse University, 117–18Syssoyeva, Kathryn Mederos, 28–9Sze, Lena, 132–3Szroeder, Boz∙ena, 211–12Szroeder, Wojciech, 211–12

Takeshita, Erik, 9Tama, Jose Torres, 191–2Tchen, Jack, 132The Tempest, 50Terry, Clark, 189theater-in-education, 5Theater Without Borders, 59Theatre Communications Group

(TCG), 30, 35, 206growing influence of ensemble

theater, 36Young Leaders of Color Program, 52

Theatre in Education (TIE), 23–4Theatre of Cruelty, 11Theatre of the Oppressed, 12,

13–14, 67Theatre of the Oppressed: New York,

100, 217nThompson, James, 24Thurber, Lucy, 56Touchstone, 60Tougaloo College, 77Tougaloo Theater workshop, 77Town Hall Nation, 103–5training, inclusion of social purposes,

193–6transcendence, and transdisciplinarity,

91transdisciplinarity, 19, 78–83, 91–2

creativity, 93heuristics, 93–4problem-solving, 78, 91shared culture, 79transcendence, 91transgression, 92

transgression, and transdisciplinarity, 92

Truscott, Cristal, 194

Ulmer, Geoffrey, 94Uno, Roberta, 52Urban Bush Women, 136–8

Hairstories, 136see also Naturally Occurring

Cultural Districts-New YorkUrban Institute, 155urban planning, 146

creative placemaking, 152

Valdez, Luis, 59Valdez, Mark, 36, 60, 61, 206, 207,

208, 215Vallins, Gordon, 24Van Erven, Eugene, 211Van Itallie, Jean-Claude, America

Hurrah, 11Vega, Marta, 119, 121Venezuela, smARTpower project, 164,

174–9Verdin, Monique, 42, 81vibrant hybridity, 4

240 Index

Victory Gardens, Chicago, 62Vimochana, 169, 170Vine, Chris, 86–7visual arts, and social practice, 6, 7Von Eschen, Penny

assessment of cultural diplomacy projects, 188

assessment of jazz ambassadors, 189–90

comparison of smARTpower with jazz ambassadors, 184–5

critique of smARTpower, 183cultural context of smARTpower

projects, 185–6photo exhibit of jazz ambassador

tours, 186–7possibilities for cultural diplomacy,

190on smARTpower model, 183value of smARTpower, 188

Wager, Doug, 31–2, 33–4Wali, Alaka, 149, 214Ward, Jerry, 75–6, 77, 78

Watson, Ian, 212, 213–14Welty, Eudora, 130Werthein, Judi, 179Wheatley, Margaret, 34–5Williams, Tennessee, 84Wing Davy, Mark, 34Wisconsin-Milwaukee, University of

(UW-M), 108–9Witness Justice, 125Witt, Elise, 191Woodworth, Frank G., 77World Policy Institute, Arts-Policy

Nexus, 208World Social Forum, 206Wright, Paul, 207

Yew, Chay, 62–3Yousafzai, Malala, 185

Zinoman, Jason, 198Zollar, Jawole Willa Jo, 136–7

Blood, Muscle, Bone, 16Zucker, Laura, 154