United Arts Agency | UAA

Posts

BLOG

Honourees announced for 77th Annual Theatre World Awards

The list of honourees has just been released for the 77th Annual Theatre World Awards, one of the most celebrated and long-running award ceremonies in all of Broadway. With the ceremony slated for June 5th, the array of performers being honoured this year is a vibrant example of Broadway’s current programming.

 

The Theatre World Awards honour twelve performers each year at the end of the theatre season, and have been doing so for the better part of a century now. The program was founded by former Theatre World editor-in-chief John Willis, and with its specific focus on awarding debut performances, it has long been seen as a community-affirming and -growing endeavour. Across the decades, and across varying points in their careers, these awards have been given to the likes of Meryl Streep, Bryan Cranston, Julie Andrews, and Marlon Brando.

 

This year’s list of honourees is as follows:

 

-Yahya Abdul-Mateen II, Topdog/Underdog

-Hiran Abeysekera, Life of Pi

-Amir Arison, The Kite Runner

-D’Arcy Carden, The Thanksgiving Play

-Jodie Comer, Prima Facie

-Callum Francis, Kinky Boots

-Lucy Freyer, The Wanderers

-Caroline Innerbichler, Shucked

-Ashley D. Kelley, Shucked

-Casey Likes, Almost Famous

-Emma Pfitzer Price, Becomes A Woman

-John David Washington, The Piano Lesson

 

To much celebration, Julie Benko is also receiving the Dorothy Louden Award (an honour for outstanding performance) for her portrayal of the iconic Fanny Brice in the current revival of Funny Girl.

 

The 77th Annual Theatre World Awards will be, as is tradition, presented with twelve prior recipients as the hosts. While it is a private invitational event, there are certain to be a number of memorable tales and performances to surface come June 5th.

What We’re Reading: Philanthropy in Almost Every Sector Is Moving Toward Unrestricted Funding—Except in the Arts. Why Is It So Hard to Trust Artists?

“Both in the arts and beyond, money is fundamentally based on trust. Our economic system functions due to society’s trust in it, enabling cooperation and exchange. However, if we trust in money itself, why is it that in arts philanthropy, trust in artists is largely absent?” said Ted Russell, former GIA board member and Director of Arts Strategy & Ventures for the Kenneth Rainin Foundation. “The restricted nature of many forms of grantmaking—such as project-based support—imply that we lack confidence in an artist’s ability to themselves determine how to allocate funds in support of their practice.”

“Enter trust-based philanthropy—a type of support defined by mutuality, transparency, and unrestricted funding. This is a model that has gained popularity across the philanthropic sector, but it has yet to take hold in the arts. However, it provides a promising solution for trusting artists, offering a model for deeper, more meaningful support.”

“This question of trust is one that artists have been asking funders for years, a dialogue which heavily informed the development of the Rainin Fellowship—an annual program we launched with United States Artists to award four anchor artists in the San Francisco Bay Area with unrestricted grants of $100,000 and supplemental support. Fellows are empowered to spend the money on whatever they see fit. This approach recognizes that artists’ individual needs are varied and they are the best experts on how to uplift their practices. Whether they decide to spend the money on housing, healthcare, or future projects, our approach foregrounds autonomy and true impact, values that are aligned with the trust-based philanthropy model.”

“The Rainin Fellowship embodies trust-based philanthropy and is rooted in the work of the Trust-Based Philanthropy Project, a five-year, peer-to-peer funder initiative and platform that addresses the inherent power imbalances between foundations and nonprofits. Central to this model is the act of listening, and learning. In creating the Rainin Fellowship in the Bay Area, we collaborated with both national and local partners to better understand the needs of the artists in our communities.”

“Trusting artists’ unique processes, chosen methodologies, and the longevity of their collaborations is a central pillar of the Rainin Fellowship. Through unrestricted funding and supplemental support, we recognize that their impact lies not only within the individual projects they exhibit and execute, but in the lasting legacy of their pioneering creative frameworks.”

“The very architecture of our grantmaking process is deeply rooted in that which we’ve learned from artists and the cultural field at large—lessons of emotional intelligence, empathy, and the tremendous impact that holistic support can have on artists’ lives. We believe that the fellowship’s trust-based model might act as a blueprint for other funders in the cultural space, uncovering how meaningful support of individual artists can strengthen our local and regional arts networks as a whole.”

“If society’s relationship to money is that of trust, it’s integral for us as arts funders to ground our support of artists in trust as well. We call upon other funders in the field to reexamine how through trusting artists—not only with unrestricted funding, but also in allowing them to tell us how best we can support them—we can propel creative innovation and allow artists to truly thrive.”

Read the full article here.

What We’re Listening To: Beyond the Classroom Podcast ​​​​Episode 3: ​Professionalization and Precarity of the Workforce

From the Wallace Foundation: Youth workers from historically marginalized communities serve as important mentors to young people in out-of-school-time (OST) programs. But in a 2020 student-led survey of youth in OST programs, many of these workers reported experiencing racism in the workplace, along with low wages and job instability. In this episode of Beyond the Classroom, researchers and practitioners discuss strategies for addressing these challenges in order to more effectively recruit and retain skilled youth workers.

Episode 3 features Bianca Baldridge (Harvard University), Vanessa Roberts (Project VOYCE), Deepa Vasudeavan (American Institutes for Research), and Sarai Hertz-Vaelázquez (Wellesley College). Listen to the full episode now.

What We’re Watching: Your Invitation to Disrupt Philanthropy

From Philanthropy Together: Sara wants to invite you over to dinner at her house. In this loud, chaotic, loving environment, Sara shows you how to build power in your community through the power of collective giving. In the process, Sara and her friends – along with hundreds of thousands of people worldwide – are part of a global giving circle movement ushering in a new era in philanthropy that is diverse, democratic, and joyful. And when more diverse people become philanthropists, more diverse solutions and nonprofit leaders get funded.

Watch this TED Talk on giving circles to learn how giving circles turn the act of giving—which is so often done individually and reactively—into a collaborative, intentional, joyful, values-based way of engaging with the issues that matter most.

New Report: Foundation for Giving Disability

From Disability Philanthropy: One in four adult Americans and an estimated 1 billion people globally experience disability, but foundation funding for disability only represents approximately two cents of every foundation dollar awarded.

Foundation Giving for Disability: Priorities and Trends offers a first-ever, detailed examination of how U.S. foundations focus their support for disability communities. It serves as a resource for understanding the scale and priorities of current support and provides a baseline for measuring changes in funding going forward.

Read the full report here.

Boynes Monthly Artist Award

International Deadline: Recurring Monthly – The Boynes Monthly Art Award is accepting entries. Submit your art and win cash prizes, published interviews, more. Open to artists worldwide. New theme monthly…

Whaam! Blam! and Roy Lichtenstein’s stamps

Pop art has always been a style ripe with issues of intellectual property. What constitutes theft in art, and what is merely inspiration or homage? Where is that oddly ephemeral line drawn when it comes to mediums that inherently replicate another’s work for effect? Perhaps the most thought of image for pop art next to Warhol’s soup cans is the work of Roy Lichtenstein. And with the recent documentary Whaam! Blam! Roy Lichtenstein and the Art of Appropriation pointing fingers at his work alongside a series of commemorative Lichtenstein stamps, the divisiveness of his work is as strong as ever.

Whaam! Blam! hones in on a contextualizing of Lichtenstein that has mostly fallen by the wayside in the art world. With many decades of exhibitions and sales having amassed for the pop art icon’s work, his paintings are often presented with little to no acknowledgement given to the original comic artists that he replicated—or, one might say, plagiarized. The due diligence of honouring those artists he copied has left a longstanding rift between the comic world and the fine arts world, it is not only one of many examples of comic artists being devalued but a unique case of those in the closed circle of art trading profiting off the talents of these ignored artists.

Yet on the flip side, the United States Postal Service is honouring Lichtenstein through a series of five stamps displaying his artwork. Featuring the likes of Portrait of a Woman and Standing Explosion (Red), these stamps primarily focus on works that are not in the precise vein most know Lichtenstein for—his blown-up dramatic panels of 50s comic panels—but still show his distinctive use of the Ben-Day dots and lines that were inherent to comic printing. It’s one of the most prevalent ways to honour an artist, disseminating miniature renditions of their artwork around the world, and comes due to the artist’s 100th birthday.

To state whether Whaam! Blam! or the USPS are right in their respective condemnation and lauding of Roy Lichtenstein seems both sticky and unnecessary. It is true that he is one of the most influential artists in American history, but it is equally true that he built his success on the thankless efforts of others. Perhaps it’s not surprising that we’re beginning to more publicly examine the flaws and misgivings of the world’s historic art elite, and in fact, might be in our best interest not to deify artists that are all too human.

Harry Belafonte passes away at 96

This past week has seen the loss of one of the world’s most iconic voices in music and a paragon for societal progress, Harry Belafonte. Passing at his home in New York City from congestive heart failure on April 25th, the artist and activist leaves behind an immense legacy of influence across many spheres.

 

A longtime fixture of worldly vibrancy in North America’s musical tapestry (and perhaps now most readily associated with the iconic uses of his music in the film Beetlejuice), Harry Belafonte was born of Jamaican descent in New York City. He spent the majority of his childhood in Jamaica with his grandmother before returning to New York, soon seeing him leave high school to enlist for WW2. The working class man took on custodial jobs as he developed an interest in acting and the arts thanks to the American Negro Theatre, with these endeavours connecting him with other future stars including bandleader Charlie “Bird” Parker, actor-director Sidney Poitier, and Marlon Brando.

 

As Belafonte began his music career, he combined a deep interest in American folk music as well as calypso, which would become the unique shape of his sonic identity for much of his career. His debut album, simply titled Calypso, was the first LP to sell over a million copies in a single year and was a gateway into the genre for many Americans at the time. His fame skyrocketed across the 50s and the 60s saw him performing alongside such artists as Ella Fitzgerald and Julie Andrews, being dubbed the “King of Calypso” in America.

 

Across these decades Harry Belafonte was committed to even more purposeful work than his musical career; he was a staunch activist and clear supporter of the civil rights movement, serving as a confidant and financial support for Martin Luther King Jr. over the years. He was a vocal dissenter of American foreign policy and showed his support for Cuba, inadvertently cementing hip-hop in the culture of Cuba when he had discussed the burgeoning musical form on a visit to Fidel Castro. Belafonte was involved in Live AID, We Are The World, and served as a lifelong UNICEF Goodwill Ambassador from 1987 onward.

 

Harry Belafonte’s music and spirit touch on things so integral and cherished in human existence. His aim to find and foster joy amidst the weight of true struggles in our world was unparalleled, and through this energy he leaves behind, one can only hope to find inspiration to navigate life with half the vigour and care that this artist did.

What We’re Watching: Preparing Your Community Arts Organization for Economic Uncertainty

From the National Guild for Community Arts Education: The global pandemic has created an unprecedented economic downturn that has affected every sector, including the arts. As community arts organizations continue to face financial challenges, it is crucial to prepare for economic uncertainty and develop strategies to support their organizations. This webinar will provide community arts organizations with an understanding of the potential impacts of a recession, as well as the tools and resources needed to prepare for this possibility.

This free, virtual conversation will include presentations, case studies, and a panel discussion. Attendees will gain insights from industry experts and peers on best practices for financial management, fundraising, and scenario planning. Participants will have the opportunity to ask questions and engage with the speakers and other attendees.

Learn more and register here.

New Fund: The Creativity Pioneers Fund

“The Creativity Pioneers Fund (CPF) catalyzes transformational social change by investing in, connecting, and championing cultural and creative organizations that advance bold and unconventional practices for building a more just, inclusive, and equitable world. Working with and alongside organizations, donors and other stakeholders across the creative ecosystem, the Creativity Pioneers Fund aims to mobilize a collective effort to advance Creativity for Social Change.”

“The Creativity Pioneers Fund was launched in 2021 by Moleskine Foundation to provide flexible funding in the amount of € 5,000 to creative and cultural organizations to help sustain their essential functions and programs. Today, the Creativity Pioneers Fund represents a coalition of partners who believe in the transforming power of creativity and the need to use a new philanthropic approach to social change. Leveraging the creative ecosystem of partners and stakeholders, the Creativity Pioneers Fund aims to offer various learning and development opportunities for its participants/recipients.”

“The Creativity Pioneers Fund intends to invest in bold, inspiring and intersectional organizations close to the challenges and communities they seek to address. Through the Creativity Pioneers Fund, we are promoting a more progressive philanthropic approach based on trust, unrestricted funding, valorization of intersectionality, simple and inclusive paperwork both at the selection process and M&E, and a strong focus on building long-lasting networks and ecosystems.”

Learn more here.