Tag Archives: Weekend of Texas Contemporary Dance

Putting the FUN in arts fundraising

Andrea Dawn Shelly and Spencer Gavin Hering of iMEE Photography by Alberto Serra

UpdateDance Source Houston is the newest member of the Houston arts community to go the way of crowdfunding with their Indiegogo campaign for Weekend of Texas Contemporary Dance.  The show goes down at Miller Outdoor Theatre on Sept. 24 & 26,  but they could use the cash now.  I Just sent them some of mine and I get a picnic as a perk.  Nice!  Amy Ell Vault and NobleMotion Dance also had successful campaigns.  Stay tuned for Alex Luster’s campaign for his street act documentary, Stick ‘Em Up.

Jerry Ochoa of Two Star Symphony reports:  “Our Indiegogo campaign was a success, exceeding our $7000 target (final total = $7220) with days left before the campaign deadline. We spent the next 7 weeks in the KUHF Frank Geary studio with engineer Todd Hulslander and came out with the finished album Titus Andronicus. For comparison, the most time we had ever spent recording an album before this was 2 days in the studio, from start to finish.”  Two Star held a swell CD launch party at Divergence Music & Arts too, along with fantastic reviews.

It gave me great joy to meet Jenalia Moreno and see her film Stitched at the MFAH earlier this summer.  Moreno reports Stitched has been entered in 29 film festivals.  “But my real show season begins Tuesday, when I show the film at a Knoxville quilt guild,” says Moreno. ” I have almost every weekend booked between now and Dec. 4.  On Friday & Saturday the film shows at a quilt show in Stafford. Stitched will be aired on local PBS on Monday, Sept. 19 at 7 pm. The film will be shown in Newark, Chicago, DC, Maryland and Galway, Ireland. In Houston, we are showing it at 8 am Nov. 3 & 10:30 am Nov. 5 at the quilt show in the GRB. We show it again at 2 pm Dec. 3 at the Houston Public Library downtown. ”

Katie Pearl and Lisa d’Amour had tremendous success with How to Build a Forest. You can catch D”Amour’s Anna Bella Eema at Catastrophic Theatre on Dec. 2.

Finally, don’t make a move without checking out Spacetaker’s handy crowdfunding tips.

Reprinted from Culturemap.

Only 22 days to go. Act now. Send your cash. No, I’m not selling a used car, but a chance to finance Two Star Symphony’s recording its Titus Andronicus score created for Dominic Walsh Dance Theater using IndieGoGo, a crowd-funding platform.

For $500 you make the “lover” level, where Houston’s beloved indie band comes to your house. I saw Two Star perform in Walsh’s Titus. They were terrific, as was the score, so this a worthy effort to ensure we are going to be able to hear this wonderful music again.

Where’s the “fun” in fundraising? It’s certainly not in the heap of letters from various artistic directors stacked up in the Bermuda triangle zone of my office. There are new kids in town when it comes to artists collecting bucks for their projects and they go by the names of Kickstarter, IndieGoGoCrowdrise, RocketHub, and United States Artists, to mention a few.

Are these efforts to democratize fundraising, leveraging social media and enlisting campaign strategies to make those elaborate paper pleas for cash a thing of the past?

Let’s find out.

Two Star preferred IndieGoGo’s approach. The troupe proved a huge hit at last year’s TEDx Houston and are known for the classic film scores it performs at Discovery Green. Soon, the band heads to SXSW for a March 15 show.

“We considered several, and found IndieGoGo had a clean interface,” says Jerry Ochoa, a violinist in the band. “It’s so well laid out, too. I like that we can include testimonials.”

Ochoa first became interested in this type of fundraising from Divergence Vocal Theater  head Misha Penton’s well researched blog post addressing the possibilities for fiscal sponsorship. The group’s IndieGoGo page is remarkably comprehensive: you get the pitch, the idea of who they are, along with review clips and a video. Perks include a special cuddle offer for any angels who want to donate $10,000. Because Two Star is raising money for a recording, any amount would be a help.

Dianne Debicella, program director fiscal sponsorship at Fractured Atlas, has her eye on this trend. Fractured Atlas, a New York-based art infrastructure organization, offers fiscal sponsorship, its own fundraising platform and a special partnership with IndieGoGo, which allows donors to take a tax deduction.

“Most of these platforms are for profit companies,” Debicella says.

Big goals, big results

She’s right, Kickstarter raised over $20 million for projects so far. This is a growth industry. Debicella, along with IndieGoGo founder Danae Ringelmann, will be presenting Fundraising in a Box: Crowdsourcing Microgrants at SXSW’s Interactive and a Fiscal Sponsorship & Crowdfunding Info Session on March 10 at Spacetaker (a new member of Fractured Atlas’ Open Arts Network).

Ringlemann presented a complelling portrait of IndieGoGo’s story recently at a SWAMP workshop for filmmakers. Compelling? Fundraising? Yes, that’s the point.

Your project has meaning to you and your fan base, which wants to be a part of the things they love.

“People contribute to people, not just ideas,” says Ringlemann, who shared her own moving epiphany about the disappointment of old school fundraising.

Not all platforms are alike. All you need is an idea at IndieGoGo, but they want you to put in some elbow grease with something they call DIWO (Do it with Others), which means you do your part using the integrated social media tools. That’s the best way to end up on their homepage orblog. Houston filmmakers Jenalia Moreno and Nancy Sarnoff want to finish their documentary Stitched, which offers a glimpse of the lives of competitive quilt makers at the 2010 Houston Quilt Show. After a fully funded campaign on Kickstarter, they are giving IndieGoGo a go.

“You have to have your tentacles everywhere,” says Moreno, who learned a lot in the first go around.

She suggests three key tips for success: Ask for a realistic amount of money; get your trailer out there; and offer cool gifts. Morena has found the process a great way to connect to fans.

“They leave comments on the site,” she says. “And there’s nothing more exciting than getting an e-mail that we have received $500 from a complete stranger.”

The team has also applied for grants and is considering a fundraising event. “It’s hard to plan a party and edit a movie at the same time,” Moreno adds.

Kickstarter welcomes art projects as well as the creative end of food, design, journalism, comics, fashion, games and technology. It’s not a place for causes or business start ups. With Kickstarter you only get the money if you meet your target goal. That way you are not committed to a project you don’t have the funds for. For anyone who has received a grant for way less than you asked for, this is good news. If a little bit of money is better than nothing, it’s not for you.

United States Artists‘ name says it all. It’s an arts only operation and considerably more selective. Artists must be recipients of their USA Project Partners or other recognized organizations.

Marc Bamuthi Joseph, currently in residence at the University of Houston’s Cynthia Woods Mitchell Center for the Arts funded red, black and GREEN, a bluesslated for a fall performance in Houston. Katie Pearl and Lisa D’Amour, of the Obie-Award winning team PearlDamour, just wrapped up a successful campaign for a new installation of their collaborative work with Shawn HallHow to Build a Forest, which was performed as a work-in- progress at the Mitchell Center.

Inspired by the loss of 100 trees on D’Amour’s New Orleans family home, the piece entails the assembling and disassembling of a simulated forest over an eight-hour time shift. I found the piece captivating, and can’t wait to see where it’s going next.

As recipients of a Creative Capital Award, United States Artists was a logical choice. “It’s brand new. There’s only 200 projects instead of 14,000, and it’s artist focused,” says D’Amour, whose play Anna Bella Eema is on Catastrophic Theatre’s 2011 season.

Pearl and D’Amour deliver a direct but warm talk about their project. “They really encourage a personal approach,” Pearl says.

As for structuring the campaign, they did their homework. “Shorter campaigns are more successful,” Pearl says. “Also, it allows us to have an ending, so we can go back and focus on the piece. It’s really helped light a fire under us.”

The Celeb Factor

Crowdrise has the uber cool Edward Norton behind it and, like other platforms, is wide open. You can raise $50 for a bus ticket. With a tagline of “If you don’t give back no one will like you,” it’s the most hilarious of the pack too. I got an e-mail reading, “Thanks for signing up and because you’re the 709th person within the past hour to create an account we’re sending you a special Crowdrise shower cap. That’s actually not true but it would be great if it were.”

When I raise funds for The Arthropologist: The Movie, I am going to use them for the funny factor. I want to chuckle while I beg for bucks. Nel Shelby, a leading New York-based dance videographer, chose Crowdriseto raise funds for her film Where Women Don’t Dance, which tells the story of Turkish choreographer Nejla Y. Yatkin.

“It just seemed fun to follow the trend and share our project in an authentic way,” Shelby says. “I loved setting up my page on Crowdrise, they have such a wit about them and it made me feel a bit more casual about writing about my film. You do have to market your page and really get it out there so people know what you are up to.”

According to Debicella and Ringlemann, it’s a reap what you sow situation. “The biggest misconception is that you just put your page up and wait. It sounds easy,” Debicella says. “Successful campaigns involve managing your page every day. Like any fundraising effort, it’s work.”

Just maybe, it’s fun too.

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Your Body: Too Loud

The Houston Met; Photo by Ben Doyle, Runaway Productions LLC

Update: What did you say? Turn it down people.  Chances are you are listening to music at too high a volume or too close to the speakers.  Since it’s really hard get a new set of ears it’s best to take care of those babies.  Sure, we want dance to have a buzz, but not in our ears.

Should you find yourself in Portland, Oregon, you can walk though a giant ear at Oregon Museum of  Science & Industry’s Dangerous Decibels exhibit or learn everything you need to know at the Dangerous Decibels web site.

You can watch The Houston MET, who inspired this article,  perform at Dance Source Houston’s Weekend of  Texas Contemporary Dance on Sept. 23 & 24 at Miller Outdoor Theatre.  The dancing may be loud but the music will be just right. And remember, never leave home without a pair of ear plugs.  You never know when loudness will strike.

Reprinted from Dance Magazine.

A rehearsal of Braham Logan Crane’s History, set to Angela Ai’s pulsing music, makes an impact. The sheer intensity of the dancing at Houston Metropolitan Dance seems to reflect Crane’s high-octane choreography and the music’s blasting volume. “We wanted it loud so we could feel Ai’s emotions,” says Marlana Walsh, the company’s managing director. The volume helps the dancers mirror the music’s vitality. Few realize that prolonged exposure to high decibels may jeopardize their hearing.

Unlike knees and hips, ears are not replaceable. Exposure to high volumes over time will cause hearing loss, something dancers need to think about before turning up their iPods or rehearsal volume. Recent research at the Massachusetts Eye and Ear Infirmary suggests that damage to hearing continues long after the noise has stopped. The sooner you protect your ears, the better chance you have of avoiding cumulative damage.

William Hal Martin, Ph.D., a professor of otolaryngology (ear, nose and throat) at Oregon Health & Science University, isn’t surprised that dancers like to pump up the volume during rehearsal. “The vibrations caused by sound creates a tremendously sensual experience,” he says. “Our bodies are covered with touch receptors that let the brain know when something is in contact with our skin. Sound waves from high decibel levels stimulate those same sensors all over our bodies. We not only hear loud music, we feel it all over. That’s why it’s so hard to sit still when the music is blasting—it drives us all to dance.”

Volume and duration make the greatest impact on hearing loss; the type of earphone you use makes no difference. The higher the decibels, the less safely you can listen. Be wary of sounds over 85 decibels. Sure, you can go to RadioShack and get yourself a decibel meter to check the safety of your rehearsal volume, but you don’t have to. There’s a simple way of telling if the music is too loud: if you have to raise your voice to be heard. To get a sense of the decibels around you, normal speech is about 65. Rock concerts run at about 110 to 120 decibels, and a gunshot is 160 decibels. “Sounds above 130 decibels cause immediate and permanent damage, typically starting in the high-frequency area of the ear,” says Martin.

With personal listening devices like iPods and cell phones, people don’t realize how far up they have turned the volume. Ackland Jones, an audiologist at Massachusetts Eye and Ear Infirmary, points to research suggesting that prolonged use of these devices poses a hearing risk. “Your iPod is capable of 110 decibels,” says Jones. “Use common sense.  If the sound is shaking the whole car, it’s too loud. Keep in mind that sounds don’t have to be painful to do damage.” If you have to remove your earbud to hear someone, you are over the line.

Audiologists recommend that if you can’t turn it down, move away from the sound source or use hearing protection. Dancer and percussionist Stephanie Marshall can’t escape the booming percussion when she’s onstage in the off-Broadway hit Stomp. After Marshall noticed a sensitivity in her ears with high frequencies, she had her hearing tested. “The audiologist suggested earplugs, which I now wear during the second half of the show, especially during the number when we are smashing metallic trash cans,” says Marshall.

Foam and flange earplugs are readily available at drugstores. They come in all shapes, sizes, and price ranges. “The best earplug is the one that is comfortable and easy to use so you will actually use it,” says Martin. “Size is important.  If they don’t fit, they will work as well as a screen door on a submarine.”

Most ears experience some temporary hearing loss periodically. That’s why after a rock concert, sounds may seem dull, like you are underwater. Permanent hearing loss tends to be gradual. Martin describes the permanent damage to the ear cell hairs as akin to a lawn. “If a crowd walks across the lawn once, it may flatten the grass, but much of it will recover. But if a person walks back and forth on the same stretch day after day, the grass will die and not grow back.  An extra layer of safety like earplugs is worth the investment.”

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