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Programming includes open coffee talks, craft session, book clubs, Bridge, Mah-Jongg, yoga, Bingo and potlucks. MCC Community Events is working on ways to safely get back to offering in-person events after celebrating their successes with virtual programming.
The staff will be unveiling an artist-in-residence series to highlight the rich array of regional, national and international artists. To me putting up shoddy work in the name of community is deeply troubling.
How to engage our communities while doing path-breaking work should be a central mission of dance companies. The DC community and the Indian dance community [are] very close knit and supportive I am indeed standing on the shoulders of these giants, and they deserve the credit for what I've been able to achieve. NEA: You have had many challenges in your life because of your decision to pursue dance--from having to balance it with a full-time job in an unrelated field to family issues.
What would your advice be to a young danceror young artistjust starting their arts career? To think otherwise is to demean the Buddhawhich is to demean oneself.
And to be fair, if I were a parent, I would be horrified if my child chose the arts given the current economic situation in the arts world, and the hard life that it requires. So with some hindsight behind me, I realize my parents were worried about my welfare. Though my family did have a very difficult time accepting the fact that I did Bharata Natyam, a dance form that draws heavily from the Hindu religion and mythology.
In terms of advice for a young artist: As we can't expect the community to be interested in us if we are not interested in them, we have to be more politically involved, realize the power of your vote and voicego out and ask for what you need, don't settle.
Learn to articulate your work in words even if you work in a non-verbal medium. Go to the county, city, regional ,and national meetings where policy makers are working and make your voice heard. Learn from the beginning to place a value on your art; don't give it away for free. Only when you value your art will others value it. Be creative about how you patch together a career in the arts. I would also say [young artists] should double major and learn the management and fundraising skills they need to continue their dance careers.
No one is going to be able to advocate for you as well as you can. At times it will be exhausting and draining. During these moments, remember that it will pass.
Tap into your peer and established professionals in the field. Get their advice, vent with them, learn how to figure out how you can articulate your frustration with your support group. Then go to the leaders who can make a difference and ask for what you need so that the needs you have are met.
Because between all these moments, you will have moments of sheer magic and joy that will be incomparable. You'll fall in love with your colleagues' genius. On the positive sidewhen I was working on multiple styles and figuring out a way to negotiate tradition and culture with relevant current topics or finding a way to evolve the art form to another place, one of my mentors Uttara Coorlawala remarked to me, "You are choreographing your identity.
I do want to be able to move back and forth and not be hemmed in by artificial boundaries. And art works to create that fluid space yet anchors me in my life. On the negative side: I see severe devaluation of the arts, the artist community, arts education, and the notion of art as labor. To me it is incomprehensible that cutting [arts] funding is even brought up as an option in budget discussions. There is also a dearth of policy makers and arts strategists to examine the long-term effects of the changes in arts funding from the 80s, 90s, and s.
Like the K trend where early education and high school are given priority and the middle school years are glossed over, I see a lot of emphasis put on start-ups or mega arts organizations. But there is almost no program that bridges the smaller companies to the larger organizations. In addition, the burden of subsidizing or supporting arts education in lower income communities has been shifted to the artist instead of state or national educational institutions. This often means that the already squeezed artists have to create or manage an arts administration program on top of everything else they are juggling.
The irony in this is that the communities that need the most support are being undercut. I'd love to see Art Works take the leadership role in some of these issues. And I know that the problem of short-sighted arts policies can't be resolved by just the artists. We need our community members, schools, youth, adults, policy makers, educators, and seniors to all rally around us and help us stabilize and promote the arts.
Giving us research and development time, like the business models, would be extremely helpful for us to create the important work and to stay on the edge of the arts rather than becoming complacent or stuck. Unless this is remedied soon, we'll have a lot of floundering young organizations dying out before they can stabilize themselves in the middle phase of their development, or large communities that have little or no access to the arts.
This is where Art works is not functioning the way it should be. I see communities as concentric circles like the ripples in a pond. Each stone thrown onto the surface of the pond creates an infinite number of ripples, and so it is with communities. Each action you take as an artist should resonate and speak to multiple circles of community.
I'm indebted to my dancers more than anyone else for their good cheer, commitment, and faith in me. For me, being a part of the community means also being interested in the community's needs and interest. So even as you tap into your mentors, be sure to give back to those you can. I also want to say this with the caveat that this doesn't give us permission to sacrifice quality in the name of "community.
To the point that an anti-intellectual, slap-things-together-in-the-name-of-community approach is being pushed. To me putting up shoddy work in the name of community is deeply troubling.
How to engage our communities while doing path-breaking work should be a central mission of dance companies. The DC community and the Indian dance community [are] very close knit and supportive I am indeed standing on the shoulders of these giants, and they deserve the credit for what I've been able to achieve. NEA: You have had many challenges in your life because of your decision to pursue dance--from having to balance it with a full-time job in an unrelated field to family issues.
What would your advice be to a young danceror young artistjust starting their arts career? To think otherwise is to demean the Buddhawhich is to demean oneself. And to be fair, if I were a parent, I would be horrified if my child chose the arts given the current economic situation in the arts world, and the hard life that it requires.
So with some hindsight behind me, I realize my parents were worried about my welfare. Though my family did have a very difficult time accepting the fact that I did Bharata Natyam, a dance form that draws heavily from the Hindu religion and mythology.
In terms of advice for a young artist: As we can't expect the community to be interested in us if we are not interested in them, we have to be more politically involved, realize the power of your vote and voicego out and ask for what you need, don't settle. Learn to articulate your work in words even if you work in a non-verbal medium. Go to the county, city, regional ,and national meetings where policy makers are working and make your voice heard.
Learn from the beginning to place a value on your art; don't give it away for free. Only when you value your art will others value it. Be creative about how you patch together a career in the arts. I would also say [young artists] should double major and learn the management and fundraising skills they need to continue their dance careers.
No one is going to be able to advocate for you as well as you can. At times it will be exhausting and draining. During these moments, remember that it will pass. Tap into your peer and established professionals in the field. Get their advice, vent with them, learn how to figure out how you can articulate your frustration with your support group.
Then go to the leaders who can make a difference and ask for what you need so that the needs you have are met. Because between all these moments, you will have moments of sheer magic and joy that will be incomparable.
You'll fall in love with your colleagues' genius. On the positive sidewhen I was working on multiple styles and figuring out a way to negotiate tradition and culture with relevant current topics or finding a way to evolve the art form to another place, one of my mentors Uttara Coorlawala remarked to me, "You are choreographing your identity.
I do want to be able to move back and forth and not be hemmed in by artificial boundaries. And art works to create that fluid space yet anchors me in my life.
On the negative side: I see severe devaluation of the arts, the artist community, arts education, and the notion of art as labor. To me it is incomprehensible that cutting [arts] funding is even brought up as an option in budget discussions. There is also a dearth of policy makers and arts strategists to examine the long-term effects of the changes in arts funding from the 80s, 90s, and s. Like the K trend where early education and high school are given priority and the middle school years are glossed over, I see a lot of emphasis put on start-ups or mega arts organizations.
But there is almost no program that bridges the smaller companies to the larger organizations. In addition, the burden of subsidizing or supporting arts education in lower income communities has been shifted to the artist instead of state or national educational institutions.
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