Past
Grantees

THE FIELD, New York City, as fiscal sponsor for Camille A. Brown & Dancers, received $10,000 in support of the creation, development, and production of Black Girl. Founded by artists for artists, The Field provides strategic services to thousands of performing artists and companies by fostering creative exploration, stewarding innovative management strategies, and helping artists reach their fullest potential. Camille A. Brown & Dancers presents authentic performances that embody a strong sense of storytelling, theatricality, and the aesthetics of modern, hiphop, African, ballet, and tap to tell stories that connect history with contemporary culture, on a journey for meaning, understanding, and relevancy. The new multimedia work Black Girl depicts the complexities of carving out a positive identity as a Black female in urban American culture, representing the full spectrum of the Black female and how they negotiate themselves in a racially and politically charged world.

LUIGI CAMPI, for My First Kiss and the People Involved, a feature-length narrative coming of age story, told entirely from the perspective of Sam, a girl living with autism. The movie follows a mystery plot, and it is designed to give a sense of how it feels to have autism, and the unique way in which Sam sees the world.  On the edge of a small town, a house is home to a group of people with autism. Sam, a resident, is an isolated girl with a mind of her own. Courted by fellow resident, Junior, Sam welcomes the guidance of Lydia, a caretaker at the home. But one night, before the party where Sam is supposed to kiss Junior, Lydia disappears.  Sam is left alone to confront the confusion of her blooming love life. So she sets out to find her vanished friend.  Soon, ominous clues come to life, and point to a secret story of violence and passion. Determined to find out what happened, Sam will have to be stronger than ever to keep her mind from spinning out of control.

JONAS CARPIGNANO received support for Mediterranea, a feature-length narrative. After leaving his native Burkina Faso, Ayiva, the film’s central character, makes the perilous journey across the Sahara and Mediterranean in search of a better life in Europe. But the realities he encounters are not what he dreamed of. Once in Italy, he must balance his desire to provide for his family in Africa with the intolerance and harsh working conditions he finds in his newly claimed home. This very timely film looks at the increasingly divisive issue of refugee immigration to Italy through a distinctly humanitarian lens.

THE FIELD, New York City, as fiscal sponsor for Yanira Castro’s dance company a canary torsi, received $9,000 in support of the creation and production of Court/Garden. Founded by artists for artists, The Field provides strategic services to thousands of performing artists and companies in New York City and beyond. It fosters creative exploration, stewards innovative management strategies, and helps artists reach their fullest potential. a canary torsi creates site-adaptable, installation-based performance projects. Founded in 2009 by choreographer Yanira Castro, it invites audiences to participate in work that is anchored in live performance and extends into other media and online platforms. Court/Garden is a spectacle in three acts with live music and live video feeds. It takes its inspiration from participatory spectacles of the French Court, the spectatorship of the proscenium stage, and the presentation of live video feeds as cultural, social, political frames of experience.  

MARIE DVORAKOVA received support for On the Wall, an animated short about a young trombone player who spends an adventurous night in a shabby hotel room where a wall of lively growing mold stain enables him to discover the realm of eroticism. Jirka leads a humdrum life. He tours the country in a small beaten up car with his fellow band players, playing the same dance music over and over every night. But one particular night will turn out to be special. After he checks into a shabby hotel room, he becomes preoccupied with finding a corkscrew to open a bottle of wine. He pays no attention to weird mold stains on the walls, or a large crooked bookcase stuffed with hundreds of books of the same title. He just wants to find a corkscrew to open that bottle. Once he does, his life turns upside down. The bookcase collapses to the ground and the room turns 180 degrees. The colorful and multi-textured fungus stain spreads across the wall and the shape of a female body appears – beautiful, pointillist, alive. Jirka has no clue about the way that men should behave around women, especially in regard to how men and women mate. But this time he can’t resist his curiosity. He becomes involved with the Woman in the mold and embarks on a journey of awakening and self-discovery, encountering a universe of eroticism and adventure within the stale room. He is forced to commit the ultimate act of courage, when the night is over.

JACQUELINE A. GARES received support for FREE CeCe, a feature-length documentary about CeCe McDonald, a transgendered African American woman who survived a violent, racist and transphobic attack and served time in a men’s prison in Minnesota. The film begins with events that took place in Minneapolis, Minnesota at 12:00 on June 5, 2011, which led to the death of a young man named Dean Schmitz. Actress Laverne Cox, who portrays an incarcerated trans woman in Orange is the New Black, will walk the viewer through the story of CeCe’s trial and incarceration. The powerful voices of CeCe and Laverne, coupled with an investigative style of filmmaking, will result in a work that confronts the issue of trans-misogyny and the culture of violence surrounding trans women of color.

NEW YORK FOUNDATION FOR THE ARTS, Brooklyn, New York, as fiscal sponsor for MARIA HASSABI, New York City, received $12,000 in support of the development and production of Hassabi’s new work Untitled, to premiere in New York City in 2016. The New York Foundation for the Arts empowers emerging artists and arts organization across all disciplines at critical stages in their creative lives and professional/organizational development. Hassabi is a New York-based director, choreographer, and performance artist. She has developed a practice involved with the relation of the body to the image—defined by sculptural physicality and extended duration. The piece receiving support from Jerome Foundation will explore the relationship of space, time, and physicality, as an artwork whose materials are human beings. It is choreographed for museum and gallery spaces, which shifts to performance as exhibition and responds to the expectations and interactions viewers have in museum environments.

CARRIE HAWKS, for black enuf*, an animated documemoir of central character, Hawks, that takes a playful approach to heavier questions of racial identity, difference, and self-acceptance. Hawks is looking to open up the idea of blackness and find where she and her family belong.  “I’m not a Negro Hair Petting Zoo, though I often get mistaken for one,” muses Hawks. “Just add curious folks with misplaced manners and watch the probing begin!” She gets weak in the knees for accordion music and not fried chicken.  She has been called the whitest black person around more times than she’d care to mention. Having been called the “token black girl” and “the black girl who talks proper,” Hawks embarks on a journey to find her place in the world. How can she stay true to her identity and be accepted by her race?

ANDERS HOLINE, Saint Paul, received support for a&n, a feature-length documentary that observes the inspiring and uncommon journey of Aaron and Nora Purmort, a young married couple embracing life in unique ways as Aaron battles brain cancer. Aaron and Nora’s journey started when Nora received a call from Aaron’s place of work on Halloween. “Aaron has had a seizure,” said one of his co-workers. Nora called out the prank and asked to talk to Aaron. Except it wasn’t a joke. That night they found out that 32-year-old Aaron had a brain tumor. Surgery would shortly follow, along with the diagnosis of Grade 4 Glioblastoma: Brain Cancer. Sharing a hospital bed that Halloween night, they decided to get married, and two weeks later at the local art gallery where they first met, they took their vows. Two and a half years passed, multiple chemo and radiation rounds have taken place, and against amazing odds they had a baby boy. Nora has shared their story through a blog she started soon after the events on Halloween. It’s quickly evident as one reads the blog that this isn’t your average cancer story. With raw transparency, Nora talks about what it’s like to be staring death down while also embracing life. Their unique story and Nora’s writings have resonated with local audiences through articles and news stories, as well as global audiences through a New York Times article and a segment on the Today Show. Much of their story has taken place online through social media. Nora, a social media director/writer, and Aaron, a web designer, have connected with thousands of people, both inspiring and getting support from people around the world. This film is about their remarkable journey. (Update: Aaron Purmont died on November 25, 2014.)

SAM HOOLIHAN, Minneapolis, received support for City of Lakes, an experimental short that will be a silent visual meditation and poetic portrait of the City of Minneapolis. The film will be 24 minutes in length and shot on 16mm black-and-white film. It will be largely non-narrative and feature carefully composed shots that move within a four-part seasonal cycle. As modern media and contemporary culture continue to accelerate and overload our senses, the film’s slower pace will be a reprieve and offer a moment to step outside conventional time. Hoolihan’s choice of black-and-white film stock will further create a meditative space for the viewer to have a visual experience not fraught with oversaturated information. The film’s content will largely focus on the diversity of the city’s citizens, the transportation system, architecture, green spaces, and city textures. The city’s relationship with water, the abundant lakes, and the indisputable Mississippi River that cuts through the heart of it all will be recurring themes in the film. Hoolihan’s eyes will gravitate to the underappreciated corners of the city, the well built remnants of decades past, the rapid changes to aging infrastructure, and the hidden spots of natural solace within the city limits. City of Lakes will capture aspects of Minneapolis outside most citizens’ day-to-day rhythms, and reveal new paths for viewers to explore.

LAURA ISRAEL received support for the feature-length documentary Don’t Blink - Robert Frank. Robert Frank revolutionized photography and helped put independent film on the map. He documented the Beats, Welsh coal miners, Peruvian Indians, The Stones, London bankers, and the Americans. The journey has been a bumpy ride, and is now revealed with unblinking honesty by the reclusive artist himself. Frank’s multi-layered life and work are largely inseparable, and despite continual interest from biographers, he has been reluctant to open the door to his past – until now. He has finally made an exception for Don’t Blink - Robert Frank because of his ongoing professional relationship with director Laura Israel, his longtime film and video editor. Their years of collaboration have resulted in a working relationship built on intuition and mutual trust. Granted unprecedented access to both Frank and his archives, Israel’s film will offer audiences revelatory insight into the intricacies of Frank’s photos, films, influence and personal history.

KARL JACOB, Hibbing, received support for Cold November, a hybrid narrative feature-length film that will be the second in a trilogy shot in the same location in northern Minnesota as Pollywogs, the first film in the trilogy. The film follows Florence, a 12-year-old girl being raised within a matriarchal family that puts a lot of weight on the pragmatic and traditional ritual of a child's first deer hunt. Through the guidance of her mother, grandmother, aunts and uncle, Florence discovers and accepts the path she must take while simultaneously living through the aftermath of a recent family trauma. In revealing the timeless mythology embodied by this modern American rite of passage, and in the hunting and mourning experiences of a girl who is becoming a woman, filmmaker Jacob hopes to spark thought about how facing mortality is a fundamental and confrontational part of what it means to be human.

MOLLY KATAGIRI, Minneapolis, received support for Waabooz, a narrative short about how a young Native American artist named Rabbit overcomes his fears through Waabooz, a superhero of his own design brought to life with the help of his grandfather. Twelve year-old Rabbit spends most of his days collecting comics, keeping his little sister out of his hair, and avoiding the teasing of his peers for being an outcast. It's not easy being different on a remote Wisconsin reservation. He keeps busy drawing and has perfected Waabooz, a superhero that embodies Rabbit's desired self. Rabbit dreads dancing in an upcoming powwow; he's awkward and shy and would rather be left out of this community event. When his bedridden grandfather learns of his fears, he decides to help Rabbit become his own hero and find strength within himself. Waabooz is a character driven drama about a boy and his common-place adolescent struggles. The film is set on a reservation that is both breathtaking and stark in landscape. The story is conveyed with the grit of realism, and a magical realism born from Rabbit's artistic imagination. Rabbit's character progression is brought to fruition by his Granfather's imparting of tradition and the spiritual strength that comes with it.

HENRY STREET SETTLEMENT AND ITS ABRONS ART CENTER, New York City, as fiscal sponsor for SIBYL KEMPSON, New York City, received $10,000 in support of her new work LET US NOW PRAISE SUSAN SONTAG. The Abrons Arts Center presents innovative, multidisciplinary work; cultivates artists in all stages of their creative development through educational programs, commissions, and residencies; and serves as an intersection of cultural engagement for local, national, and international audiences and arts-workers. Sibyl Kempson’s LET US NOW PRAISE SUSAN SONTAG is a two-act musical created in conjunction with composer Ashley Turba. The work interrogates how journalistic practices, which border on the artistic, are articulated to the wider public and override an ethical response/motive to action.

NEW YORK LIVE ARTS, New York City, as fiscal sponsor for choreographer Joanna Kotze, received $10,000 in support of the creation and production of a new work, Find Yourself Here. New York Live Arts is an internationally recognized destination for innovative movement-based artistry offering audiences access to art and artists notable for their conceptual rigor, formal experimentation, and active engagement with the social, political, and cultural currents of our time. Find Yourself Here is an evening-length dance work integrating material from three trios. Each is a collaboration among three dancers and a visual artist, focusing on the interplay between form and chaos, where bodies encounter objects and one another in a kinetic rendering of shared artistic practices. Kotze intends to present a beautiful spectrum of tension and harmony, isolation and togetherness.

THE FIELD, New York City, as fiscal sponsor for LONE WOLF TRIBE, Brooklyn, New York, received a two-year grant of $18,000 in support of the development and production of the new work Clarion Call. Founded by artists for artists, The Field provides strategic services to thousands of performing artists and companies in New York City and beyond. It fosters creative exploration, stewards innovative management strategies, and helps artists reach their fullest potential. Lone Wolf Tribe is a puppet theatre ensemble blending history, sociology, and psychology into brutally poetic contemporary narratives. Under the direction of Founding Artistic Director Kevin Augustine, the ensemble will develop Clarion Call, a performance cycle of three self-contained works presented in indoor and outdoor settings, and in various environmental conditions over the duration of three days and nights. This work is a response to the cynicism, frustration, and paralysis many people experience in the face of a changing world. The goal is to broaden the model of how ideas of activism are communicated.

MARIE LOSIER received support for Cassandro, The Exotico!, an intimate experimental documentary portrait of one of the most renowned performers in the astonishing world of Mexican “lucha libre” wrestling. Over a 17 year career, Cassandro, an openly gay, cross-dressing “exotico” wrestler, has thrilled lucha audiences with his fearlessness in and out of the ring, battling fierce opponents, homophobia, addiction, and the after-effects of severe childhood trauma. Cassandro is arguably Mexico’s most daring and highly revered exotico. He is the current NWA World Welterweight Champion and a former UWA World Lightweight Champion. He has been openly gay for most of his 35-year career, breaking boundaries within a community that has not always tolerated homosexuality. Filmmaker Marie Losier was immediately taken by Cassandro’s warmth, eccentricity, and incredible athletic ability when she met him. They struck up a friendship and Losier soon learned that his enormous spirit rises out of a life marred by violence, poverty, and addiction. Over the next two years, Losier visited Cassandro seven times in Mexico City and El Paso as well as Paris and London while he was touring. He introduced her to the astonishing, complex and highly secretive inner world of lucha libre. This documentary is about Cassandro’s life within that world and so much more.

THE FIELD, New York City, as fiscal sponsor for CHRISTINA MASCIOTTI, Astoria, Queens, received $10,000 in support of the production of SOCIAL SECURITY. Founded by artists for artists, The Field provides strategic services to thousands of performing artists and companies in New York City and beyond. It fosters creative exploration, stewards innovative management strategies, and helps artists reach their fullest potential. Masciotti’s plays feature contemporary American characters who are on the fringes of society as immigrants, working class anti-heroes, or disaffected youth. In different ways, these characters are struggling to be recognized as human beings. She hopes to bring the full spectrum of their lives to the stage and allow their stories to serve as a portal from which the audience can examine their own lives. SOCIAL SECURITY is an experimental theater work that follows a trio of neighbors in downtown Reading, Pennsylvania, who look to each other for support as the familiar and financial security nets they’ve individually set up start to fray. The work reflects an interest in the social effects of class distinctions, and how the manifold dangers of living alone can be mitigated by one’s education level, ethnic background, income, and age.

THE FIELD, New York City, as fiscal sponsor for JULIANA F. MAY/MAYDANCE Long Island City, New York, received $10,000 in support of the development and production of The Installment. Founded by artists for artists, The Field provides strategic services to thousands of performing artists and companies in New York City and beyond. It fosters creative exploration, stewards innovative management strategies, and helps artists reach their fullest potential. Juliana F. May’s The Installment uses abstraction, repetition, and simultaneity as critical strategies for interrogating narrative and contemporary dance. The audience will be divided between two performance environments. Repetitive movement sequences, dialogue, text, and a simultaneous compositional structure characterize the action. The dancers will perform iconic gestures that situate themselves inside the rhythms and shapes of a 1950s and 1960s musical theater aesthetic combined with May’s sinuous movement vocabulary. The confluence of body, object, language, and persona create jagged terrain. Narrative threads are ruptured by the shifting sensorial experience.

JUAN MEJIA received support for The Battle for Land, a feature-length hybrid documentary/animation film born out of a commitment by the filmmaker to grapple with the realities of a country stained by inequality and injustice. Through detailed portraits of characters in the film, The Battle for Land journeys deep into the heart of mass displacement in Colombia, where development models and corporate interests collide with and ravage local visions and ancestral traditions, and the dark side of progress is revealed. The film depicts the catastrophic complexities of forced mass displacement. Colombia surpasses the world in its internal refugee crisis with close to 5 million people violently displaced from their land since 1990. Black Colombians, approximately 17% of the population, make up a disproportionate 30% of those uprooted from their territory. As the civil war in Colombia escalates, armed actors are disputing the territory and seeking control of the valuable natural resources of the Pacific region, where the majority of the Afro-Colombian population resides. Leading activists affirm that if displacement rates continue, Afro-Colombians could disappear as a distinguishable, cohesive ethnic group from the Pacific Coast. This film examines that growing crisis.