March 2016

artists next door 4

best video 5

21st century music industry 6

three months in south korea 9

The Arts Paper a free publication of the Arts Council of Greater New Haven • newhavenarts.org

March 2016

The Arts Paper march 2016

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Artists Next Door For Jake Halpern, Journalism is a Ticket Out of the Bubble

staff

board of directors

Cynthia Clair executive director

Eileen O’Donnell president Rick Wies vice president Daisy Abreu second vice president

Debbie Hesse director of artistic services & programs Nichole René communications manager Lisa Russo advertising & events coordinator Christine Maisano director of finance Winter Marshall executive administrative assistant David Brensilver editor, the arts paper Amanda May Aruani design consultant

Ken Spitzbard treasurer Wojtek Borowski secretary

directors Laura Barr Susan Cahan Robert B. Dannies Jr. Todd Jokl Mark Kaduboski Jocelyn Maminta Josh Mamis Rachel Mele Elizabeth Meyer-Gadon Frank Mitchell John Pancoast Mark Potocsny David Silverstone Dexter Singleton Richard S. Stahl, MD

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Best Video Preserving an Archive, Expanding a Mission

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21st Century Music Industry The Soundtrack of Entrepreneurism

The Arts Council of Greater New Haven promotes, advocates, and fosters opportunities for artists, arts organizations, and audiences. Because the arts matter.

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Three Months in South Korea The Arts Council’s Debbie Hesse Reflects on Her Artist Residency

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The Arts Paper march 2016

Letter from the Editor Back in November, I attended a panel discussion at the Elm City Music Fest, a threeday event annual here in New Haven whose aim is to educate artists about the music industry and celebrate the local scene. The focus of the panel discussion I attended was the future of the music industry. Better said, it was a forum in which the current state of the business was examined by former longtime record-company executives and ascendant industry insiders. After the festival, I interviewed several of the panelists from that forum. The yield of those conversations is a feature story I contributed to this issue of The Arts Paper about how aspiring musicians should navigate the industry, from the perspectives of the above-mentioned former gatekeepers and one artist-development specialist who’s in the early part of what will likely be a fascinating and rewarding career.

I have fond memories of recording demo tapes as a teenager and sending them to

various A&R types, hoping to get a call from a guy who said things like, “Hey kid, stick with me and you’re going to rock the world.”

Yeah …

I also have fond memories of hearing that my favorite band would soon be releasing a new album, buying that album on the Tuesday it hit stores and rushing home to listen while reading the lyrics and liner notes, camping on sidewalks outside record stores to buy concert tickets, seeing my favorite group live, and looking forward to reliving it all again a year or two later.

Much about the music industry has changed, and talking with the folks who helped bring us part of the soundtracks of our lives was illuminating and, frankly, fun.

Arts Council intern Eric Padro, a freshman at Bennington College, has contributed a piece he wrote after interviewing two young, local musicians.

As a published author and fan of literature,

I thought it would also be interesting to explore how the book-publishing industry has similarly changed. That assignment went to Lucy Gellman, who spoke with book editors, former editors, and writers about what industry changes mean for stakeholders. Unable to control my own interest in that area, I interviewed a New Haven based literary agent who used to work as a book editor and added the yield of those conversations to these pages.

Another look at adaptation we’ve taken focuses on the Best Video Film & Cultural Center in Hamden, which is transitioning to a nonprofit organization, to preserve a remarkable film collection as video stores become fully obsolete and to broaden its mission in exciting ways.

If this issue of The Arts Paper has a theme, it’s adaptation.

In addition to those stories, these pages include an article by Lucile Bruce about

On the Cover

In the Next Issue …

Wesleyan University associate professor of dance Nicole Stanton will lead a panel discussion with choreographers Brian Brooks, Ronald K. Brown, David Dorfman, Allison Orr, and Max Pollak, during DanceMasters Weekend.

Photo courtesy of Wesleyan University CFA. See story on pages 10 & 11. The DanceMasters schedule appears on page 18.

The April issue of The Arts Paper will include a story about the Yale School of Music’s Music in Schools Initiative. In this photo, teaching artists Aaron Krumsieg, left, and Daniel Venora run a brass ensemble, at the Norfolk Music Festival, for Morse Summer Music Academy fellows. Photo by Matthew Fried.

DanceMasters Weekend, the annual event at Wesleyan University that gives aspiring dancers a chance to work with accomplished choreographers; a profile, by Hank Hoffman, of Jake Halpern, a local author whose compelling work has appeared in several highly respected magazines; and a column

by Debbie Hesse, the Arts Council’s director of artistic services and programs, about her recent artist residency in South Korea.

I hope you enjoy the stories presented herein and that you’ll remember to recycle this print publication once you’ve finished reading it.

Sincerely,

David Brensilver, editor The Arts Paper

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The Arts Paper march 2016

artists next door

Window into an Interesting World for jake halpern, journalism is a ticket out of the bubble hank hoffman Journalist Jake Halpern was candid with Darren Wilson, the Ferguson, Missouri, police officer who shot and killed Michael Brown, when they first met. He told Wilson, “When this article comes out, there will be moments where you’re slapping your head and saying, ‘I can’t believe he put that in there.’ I hope you’ll also think it’s fair.”

Halpern’s story on Darren Wilson — Halpern was the first writer granted an interview with the besieged and much-criticized officer — ran in The New Yorker in August 2015. Typical of Halpern’s work, it is smartly paced, empathetic, alert, challenging, and deeply researched. The reader gains not only a nuanced understanding of Wilson but also a richly detailed picture of the problematic racist culture in which he worked.

Halpern, who turned 40 last year, has written for The New York Times Magazine, The New Yorker, The New Republic, The Atlantic Monthly, and many other periodicals.

He has three nonfiction books under his belt — Braving Home, Fame Junkies, and Bad Paper — along with four young adult novels co-authored with Peter Kujawinski. On the radio, he is a regular contributor to the NPR programs This American Life and All Things Considered.

The type of story that sparks his interest is the kind that appears immediately to be a “great yarn — where it’s a mystery or you feel the storytelling seems like it’s going to be a tale with a clear beginning, middle, and end.” He is also fond of stories centered on characters that feel “real and salt of the earth and surprising.”

In a story Halpern is currently writing, the protagonist is a young man trying to escape a dangerous life.

“It’s got all the elements I like,” Halpern said in an interview at his New Haven home.

Journalistic catnip for Halpern includes “social worth” and an interesting main character with a compelling story. “He’s on this

Jake Halpern’s Bad Paper, a piece of investigative journalism that explores the world of debt collection, was published in October 2014 by Farrar, Straus and Giroux.

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quest — a hugely dramatic quest, trying to make it out of a desperate situation to go somewhere he feels he’ll have a better life,” said Halpern.

Halpern’s journalism often involves immersion in his subject, an approach that can produce deep insights. In the case of the young man striking out in search of a new life, Halpern was with him when police twice stopped them both.

“It was a transcendent moment because I felt like I was able to see life through this kid’s eyes for a second,” Halpern recalled.

“I felt a small fraction of his fear. Stories like that make you feel alive and really excited about your work.”

And, he added, it’s important to write it up while it’s fresh in his mind. “I sat down and wrote it the next day,” Halpern said, “because I wanted the energy to be there, the memory to be clear and the sense of urgency to be there.”

Are there character traits or skills that are particularly helpful in the work he does?

“I like people and feel I’m a person who has the ability to connect with a fairly large spectrum of folks and that helps,” Halpern said. Learning to be a good listener didn’t come naturally, Halpern said, but it was essential. He also learned to share about his own life, talking about his wife, his kids, his life.

Subjects open up if they “feel like they are having an interaction with another human being as opposed to a journalist,” Halpern said. That approach can be seen as manipulative. But Halpern’s style of journalism isn’t based on making fools of his subjects. “It’s to see the humanity in them. The only way you can get at that is if you are interacting with them as another human being. That was certainly the case with Darren Wilson.”

For the NPR radio program This American Life in 2008, Halpern told the story of two women born in Wisconsin in 1951 who got switched at birth, each going home with the wrong family. Stunningly, the mother of one of the girls knew of the mistake from the start but — pressured by her husband — kept the secret under wraps for 40 years.

Once she revealed the secret, in a letter to her biological daughter, the lives of two families were turned upside down.

“You have to be patient. The most important thing is not to pressure people and just continue to talk to them,” Halpern said.

“Those women wanted to tell that story.

They all — in various ways — were burdened by it.”

Having all the elements that make a great story is only part of the battle. Halpern said that he had to learn how to bring an artful approach to his journalism. Where he might have taken a chronological approach as a young writer — this happened, and then this — he now recognizes the narrative threads of a piece, the “connective tissue.”

He likens the effort to crafting an “airport thriller.” It’s “sleight of hand,” drawing out the mystery so the reader has to read the whole piece to know what happened.

Jake Halpern. Photo by Kasia Lipska.

“I think the young adult fiction made me a much better nonfiction writer,” Halpern said. “If writing for YA, every single chapter I’m thinking, what is moving the plot here?

What is the narrative tension? Each plot has to have some mechanics at play.”

The skills that make the fiction work are applicable to the journalism. “It gave me more of an intuitive sense of when something was dragging and when it wasn’t.”

Bad Paper, published in October 2014 by Farrar, Straus and Giroux, is Halpern’s most recent work of book-length investigative journalism. Through a series of vivid, real-life characters, the book brings to light the world of debt collection. It is a mostly unregulated Wild West of the economy in which colorful, driven debt collectors and brokers try to make their own fortunes — or keep their heads above water — collecting pennies on the dollar of debt that more mainstream (if no less shady) financial institutions have written off.

Halpern spent two years working on Bad Paper, immersed in the subterranean world of debt. His spirit guides were an unlikely duo: Aaron Siegel, a former banking executive from a well-off Buffalo, New York, family who created a private equity firm dealing

in distressed consumer debt, and Brandon Wilson, a former armed robber from the projects of Boston who became Siegel’s primary debt broker and also his enforcer, when the need arose.

At one point in Bad Paper, Halpern sits in on a dinner meeting with Aaron Siegel and Joseph — who asked to be identified only by his middle name — one of the investors in Aaron’s fund. The fund is under-performing and Joseph is treating Aaron with poorly disguised disdain. Joseph says he invested with Aaron because “it was a window into an interesting world.”

I asked Halpern if journalism was, for him, also a “window into an interesting world.”

“There is a lot of deep-seated human curiosity to exiting our somewhat circumscribed lives. We all live in bubbles. East Rock is a classic example. This is such a bubble and people seldom leave this eight-block radius.

And yet there is a vastly different world right over there,” Halpern said, gesturing.

“But people feel intimidated by that. Being a writer gives you just enough excuse to cross over that.” n Learn more about Jake Halpern’s work at jakehalpern.com.

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The Arts Paper march 2016

Preserving an Archive, Expanding a Mission best video continues transition to cultural organization david brensilver Hank Paper opened Best Video, in Hamden, in 1985, when video-rental stores dotted the landscape. Having relocated to the area from Hollywood, where he’d been working as a screenwriter, and with a desire to “share good movies with friends and neighbors,” Paper purchased more than 500 VHS-format films, each of which was “a film I could recommend.”

“I knew something about the product,” he said, with a heavy dose of understatement. Indeed, Best Video began as and remains a curated shop, an archive that today consists of more than 40,000 films in 300 categories.

Hank Hoffman, the assistant manager at Best Video, where he’s worked since 1994, described Paper as a “longtime movie fanatic” and said Paper’s vision has “always been a key component of the appeal of the store to people in the area.”

Over time, even as Netflix and streaming technology has made typical video-rental stores all-but obsolete, the shop has become a cultural center. Around 2011, “very much prompted by a desire to keep the place relevant,” Hoffman — whom Paper described as a music legend in New Haven,” referencing the fact that Hoffman has been writing about local music and other performing and visual arts for years — began scheduling live music performances in the space. A projector was installed so the place could present movie screenings, literary events were added to the mix, and a café was built. All this was

viewed as “a means to keep the place relevant and to cultivate new constituencies for it as a cultural center.”

Still, the video-rental store model that we came to know in the 1980s is no longer a sustainable one. “At the most basic level,” Hoffman, who writes regularly for The Arts Paper, said, “there isn’t a for-profit model for maintaining a video archive like this anymore.”

What to do, then, with what Hoffman described as “an incredible resource of movies that otherwise wouldn’t be available to the public”? Best Video is the antithesis of what Blockbuster Video was, he pointed out, “the antithesis of what’s become of Netflix.”

“I’m still finding great movies in the collection that I haven’t seen before,” Hoffman said.

The answer to what to do to preserve the film archive and continue to serve as a cultural center in Hamden was to reconstitute the operation as the Best Video Film & Cultural Center. Paper, who was ready to move on from the retail side of the business, sold the building in early 2014, having purchased it in 2000 and moved the business there in 2001. Paper’s business moved four times over the years, the last move being into the current space, a quarter of which he used to rent. The current landlord operates a travel agency in part of the space.

Paper sold the business to the newly formed organization in November 2015.

It was an “incredible, fun ride for over 30 years,” said Paper, who’ll continue to organize movie screenings and curate film series at BVFCC. In April, in fact, the organization will partner with the Hamden-North Haven chapter of the League of Women Voters to present a series called “Candidates, Campaigns, and Controversies: Great Political Films.”

A Literary Agent’s Advice david brensilver Borders closing the doors to its stores in 2011 was a huge loss to the publishing industry, which had already seen big-box and online retailers put the squeeze on independent booksellers. In simple yet stark terms, there are fewer physical outlets in which books are being sold. Couple the shift in the retail marketplace with mergers among major publishing houses and the result is fewer opportunities for writers hoping to introduce their work to broad audiences. As is the case in the recording industry, wherein the consolidation of major record labels and the fragmentation of formats and platforms has forced artists to embrace the DIY ethic — not that artists can’t have success that way — there is, increasingly, more pressure on book publishers to score with each new title. Like record labels and their relationships with aspiring songwriters, publishers aren’t looking to develop smaller writers. An author has to “make it” quickly or not at all. And while aspiring writers might find that depressing, it

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doesn’t mean there aren’t opportunities.

New Haven resident Betsy Lerner is a literary agent with the New York-based Dunow, Carlson & Lerner Literary Agency. Prior to her work as an agent, Lerner worked as an editor at such major houses as Simon & Schuster, Houghton Mifflin, and Doubleday. Recently, she called on her editing experience to structure a project of her own, a book called The Bridge Ladies, a memoir, due out in May (via Harper Wave), about her mother’s friends and bridge club.

Lerner believes we’re living in a great time for writers.

“You can self-publish and be a bestselling writer,” she said. “There are many of them.”

While self-publishing has been stigmatized by some, including those who want or value the validation of a gatekeeper, it doesn’t carry any such burden of judgment when a self-published author sells half a million copies of a book and is approached by a big publisher looking to capitalize on that success.

That’s not to say it’s easy. Far from it.

Writers have to take advantage of the myriad

The Shellye Valauskas Experience (left to right: Dave Hurd, Bruce Crowder, Shellye Valauskas, and Dean Falcone) performs at Best Video Film & Cultural Center in December 2015. Photo by Kathleen Cei.

The goal of the newly formed organization, whose fiscal sponsor is The Institute Library, while the Internal Revenue Service reviews BVFCC’s application for 501(c)3 status, is to preserve and grow the film archive, present more film screenings and live performances, and establish an outreach initiative that makes use of the collection.

In addition to expanding its membership structure to offer various monthly and annual subscription plans, the folks on the BVFCC board are eager to develop an educational arm of the organization.

Heidi Hamilton, the organization’s interim executive director, was director of the film division of the Connecticut Commission on Culture and Tourism (now the Office of Culture and Tourism, in the state Department of Economic and Community Development) from 2005 to 2007. During that time, she served for a year as the director of Film Fest New Haven, which existed

from 1995 to 2005. In 2014, the Connecticut film Festival reimagined Film Fest New Haven as the New Haven Independent Film Festival.

For several years, Hamilton, who is the CEO of and general counsel for the Amber Charter School, in East Harlem, New York, has wanted to create something along the lines of the British charity organization Into Film, which, since its founding in 2013, has worked to bring film, as an educational tool, into the lives of schoolchildren. Into Film was created through a merger of FILMCLUB, which brought film into schools, and First Light, which introduced schoolchildren to the process and experience of filmmaking.

“That’s the model that we hope to emulate,” Hamilton said. n

platforms for marketing and self-promotion.

They have to develop audiences, generate reviews, and generally do the work that a big publisher would do for authors signed to book deals.

“You really can’t be a hermit,” Lerner said.

One who’s looking for that kind of support needs an agent whose job it is to sell a writer’s book to a publisher. Lerner, who works primarily with nonfiction writers, believes the first thing a writer needs to do is check his or her ego.

“Writers have a lot of magical thinking that goes along with their work,” she said, explaining that very few of the projects her agency is pitched are ready to be taken on, either because the writing itself isn’t very good or because writers lack the necessary credentials (degrees in the subject field, previously published work, an established audience) to attract a publisher. “It’s very arrogant to think, ‘I’ve written this book. People should read it.’”

Obviously, aspiring authors at different stages of development approach Lerner’s agency. And the first thing that needs to strike her is the writing itself. If it does, she’s very open minded. Recently, Lerner sold a historical-nonfiction book by a writer who has no credentials.

“The query letter was very elegant,” she explained, saying she started to read the writer’s work and was swept up in it. “His research blew me away.”

Aside from the research a writer does for a given project, he or she needs to learn who might be interested in seeing a particular project and how to go about pitching and submitting it to an agent for consideration.

Submission guidelines are typically outlined on agencies’ websites and there is a wealth of information elsewhere online about the process. And writing conferences, of which there are many, present excellent networking opportunities.

“The bar is much higher for selling a book” these days, Lerner said. “The project really has to deliver” when it’s time to sell it to a publisher.

It’s important for writers to stand out.

“I would try to engage an authentic voice,” she said. n In addition to Food and Loathing: A Life Measured Out in Calories (Simon & Schuster, 2004) and The Forest for the Trees: An Editor’s Advice to Writers (Riverhead Books, 2010), Betsy Lerner is the author of the forthcoming memoir The Bridge Ladies (Harper Wave), due out in May. Learn more about her at betsylerner.com.

Learn more about the Best Video Film & Cultural Center at bestvideo.com.

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The Arts Paper march 2016

The Soundtrack of Entrepreneurism meet the 21st century recording industry david brensilver

I

n November, local recording-industry veterans presented the second iteration of the Elm City Music Fest, a three-day event designed to educate artists about the business — through panel discussions, workshops, and networking opportunities — and to showcase local musicians alongside their peers from beyond the area. The educational aspect of the festival is hugely important to Vic Steffens, who said, “There needs to be a better sense of what it takes” to find success (in terms of the conventional definition) in the industry, “and that’s what I’m trying to do.”

Steffens has owned and operated the Horizon Recording Studio in West Haven for 25 years and runs HMG Records, a development label distributed by SelectO-Hits, a Memphis-based company established in 1960 by Sun Records founders Sam Phillips and his brother Tom. In addition to the panel discussions, which Steffens said “can really add value to what people are doing,” performances at venues around New Haven gave local attendees a chance to see what peers in other places are doing to bring their music to new audiences.

“Largely speaking,” he said, “the town really doesn’t understand the bigger picture.” Translation: Not many artists from New Haven are breaking out.

“I haven’t seen a Mighty Purple or a Gargantua Soul in New Haven in a very long time,” he lamented, adding Kung Fu to that short list of New Haven-based bands that have broken out. Still, Steffens said, “I’m very bullish on New Haven in a lot of ways.” Having attended and participated in panel discussions at the Dewey Beach Music Conference, in Delaware, and the Liberty Music Festival, in Philadelphia, Steffens decided a few years ago that “there’s a need to do something here.”

The first panel discussion presented at the 2015 Elm City Music Fest focused on the future of the music industry and how artists can further their careers. Panelists included Bob Anderson, the former head of sales at RCA Music Group who hosts

a program on WPKN and is that organization’s online development director; Michael Caplan, a former Sony Music A&R executive who runs Elm City Music, a New Haven-based label (in which Steffens is a partner) distributed by Universal Music Group; Cheryl Englehardt, a composer, branding expert, and the founder of CBE Music; Suzanne Paulinski, the founder of the artist development company The Rock/Star Advocate; and Lou Plaia, the cofounder of Reverb Nation.

Talking recently about record labels, Caplan, who’s charmingly cynical, said, “They don’t do the development work anymore. … They don’t want to invest large sums of money with no return.”

The onus, then, falls on the artists.

“It requires a lot of work,” Caplan said.

“You’re not going to get rich, but you can make a living.”

Anderson, who’s decidedly optimistic about the industry, agreed that “you’ve got to be an entrepreneur these days,” and “you really have to have the right people to help you.”

It used to be, Anderson recently said, that artists would get signed and the record companies would take it from there.

Now, artists have to build foundations and take ownership of the initial stage of artist development.

And that’s due in large part to the fragmentation and consolidation the industry has seen in recent decades.

“Radio is still the easiest way to sell a record, but it used to be the way,” Caplan said.

When the digital revolution happened, and Napster changed the way people consume music, Anderson said, record companies weren’t ready, and revenues flattened. The record companies fought the new paradigm, of course, and are still licking their wounds.

“The power has gone to the consumer,” Anderson said.

What has that meant for artists?

As Caplan put it, “The odds have become longer because of the fragmentation.”

While there are fewer big labels today as a result of consolidation, there are ever

Left to right: Reverb Nation cofounder Lou Plaia, The Rock/Star Advocate Suzanne Paulinski, Elm City Music founder and former Sony Music A&R executive Michael Caplan, composer and CBE Music founder Cheryl Englehardt, and WPKN host/ online fundraising director and former RCA Music Group head of sales Bob Anderson participate in a panel discussion, during the Elm City Music Fest, about the future of the music industry. Photo by Mike Franzman.

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John McCarthy and Heather Joseph perform with Chemical Z during the Elm City Music Fest. Photo by Mike Franzman.

more platforms from which consumers can source music, including YouTube — which Anderson pointed out is “the second-biggest search engine, and it’s free”— Apple Music, Amazon Prime, Rhapsody, and Spotify, to name a handful.

“A third of music revenue is streaming,” Caplan said.

The way that revenue is divided is the same as it has been with other formats: 70 percent to the content owner — out of which publishers, artists, and others are paid — and 30 percent to the distributor, or retailer. It’s a “huge revenue bonanza for the record companies right now,” Anderson said. His concern is the ability of artists to differentiate between revenues from the sale of CDs and those from streaming content. “Right now, the issue with streaming is transparency,” he said, pointing out that while the revenue-split formula is the same, the scale per sale — because most are single tracks — is much smaller. Companies like Kobalt Music Group, he said, are designed to offer more transparency.

Before artists can start counting revenues, they need to have their music heard.

And clearly there’s more clutter these days. It’s harder for artists to get people’s attention. Anderson said artists have to be very specific about what their visions are and what differentiates them from others.

He sees more opportunities in a more crowded marketplace.

“It’s really difficult to get heard,” Anderson said. “You’ve got to make sure people find you. The competition is more difficult than ever these days. You really have to be an entrepreneur.”

Anderson’s advice to artists is to “look at a record company from a template standpoint.” That is, to think about what a big label would do to develop an artist and do it themselves, serving, in a sense, as general contractors.

Or, hire someone like Paulinski, who recently said, “I consider myself artist development,” and, “I think artists have always been entrepreneurs. I think we’re just recognizing it now. The artist development is out there, it’s just packaged differently.”

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The Arts Paper march 2016

Artists can make money on their own, Paulinski said, but not all artists feel comfortable running the business end of their careers. And that’s where she comes in.

Talking about the big labels, she said, “They’re not interested in watching you grow. They’re interested in you turning out a hit.”

Anderson agreed, pointing out that labels are looking for the next hit and will reinvest where they believe they’ll get a return. Labels are searching for artists with a global reach.

“Artists don’t like the fact that labels are gatekeepers,” Steffens said, “but it is what it is. It’s not going to change.” It’s “a function not of art, but of economics.”

Paulinski, who recently relocated her base of operations from New York to Nashville, doesn’t think the goal should be to get signed. She encourages people to view labels as banks that expect payback.

Her approach, when working with clients, is to ask what the ideal career would look like, and to explain that there are different avenues to success, different ways to make money. If an artist’s goal is to get signed by a major label or to hook up with a major sponsor, he or she is going to need serious “social currency.” That aside, her advice to clients is to identify their goals and work smarter, not harder — to take advantage of opportunities and follow

avenues that apply, and to avoid getting overwhelmed by the noise that surrounds us all.

She recommends talking with other artists, attending conferences, and the like.

Anderson suggested riding the coattails of other artists and taking advantage of their Klout Scores on social media as part of a holistic strategy that includes selling albums at shows and though downloading and streaming services, selling merchandise, meeting fans, and connecting with those who can help further one’s career. It’s about leveraging a growing number of opportunities.

Paulinski urges clients to “know your why” and to “stay in your lane,” avoiding unhelpful and impractical comparisons with other artists (not to be confused with comparisons that could prove beneficial) and looking forward.

“If you’re passionate about something,”

HMG Records head Vic Steffens at his Horizon Recording Studio in West Haven. Photo by Amanda May Aruani.

she said, encouragingly, “people will jump on board.”

Still, Steffens said, “if the product doesn’t stand up, you could spend all the money you want” on development and promotion, but “it’s not going to go any-

where.”

Which is why, in the end, as Paulinski said, it’s important that artists “make it about the music.” n

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The Arts Paper march 2016

Social Media and DIY Promotion eric padro Things in and around the music industry are certainly different from the way they were 20 years ago — or even 10 years ago.

The artists have changed and so have their methods of attaining fame (and profit). The recording industry has changed, too. With the seemingly infinite ways of self-promotion brought about by the rise of the Internet, contemporary artists no longer depend on record labels to do their marketing.

Social media has replaced the formal institutions on which musicians once depended if they wanted a profitable career in music.

Asked about his method of making a profit as an “underground” musician, local percussionist and composer Doug Perry noted that “networking has been my number one key to getting work.”

“When I was in school,” he said, “I did this by taking lessons with older, more experienced musicians than I. On occasion, one of these musicians would take an interest in my playing and hire me for another engagement — for example, taking lessons from an orchestral percussionist who would then invite me to play in the orchestra they are a part of. Inevitably, I would

meet new musicians at whatever engagements I was invited to perform in.”

Perry has demonstrated his lack of need for the kind of financial backbone a label can provide. He has focused on old-fashioned way of promoting his name — and it’s been working for him. He values making friends wherever he goes.

“I found that, while playing well is extremely important, it’s also important that other musicians enjoy working with you.

In any industry, people prefer to work with their friends.”

While acknowledging the importance of personal relationships, Perry makes sure not to forget about the advantages of using the Internet (and more specifically, social media).

“As a teacher and a recording artist …

I do rely on more modern and relevant mediums to advertise myself. … I don’t use (social media) to make money. I use (social media) to reach a broader audience and get my name out. Through these platforms, I try to highlight my versatility as a musician by recording and sharing lots of different styles of music — classical, jazz, rock, etc.

I also like to include both performances of standard classical repertoire and popular

local musicians share experiences

music on my YouTube page to reach more listeners.”

Though he doesn’t disregard the importance of personal relationships, local electronic-music producer Avery Bell (a.k.a. Day Lyte) has used social media to help shape his career path. “Instead of discovering a local artist from the FM radio, the modern use of social media has since changed artists and fan interactions. People now utilize social media to either market artists or showcase/express their own style. … (I) market myself through Twitter, Facebook, or Soundcloud,” Bell said. “Although I usually make money from the various events I DJ, I see social media to be the breeding ground for success right now.”

Bell, like Perry, realizes the importance of networking and making relationships in the music world. He is currently trying to kickstart a project based on this topic, getting local artist to unify and become even more self-sufficient.

“I intend to bring together a group of artists on Soundcloud and bridge gaps in the music world,” Bell said. “My goal is to create a fun and interesting project that will bring musicians and fans together. As I said before, it’s all about the networking.” n

Local percussionist and composer Doug Perry. Photo by Janis Porietis.

Eric Padro is an Arts Council intern. He’s a freshman at Bennington College.

During the Entire Month of March!

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The Arts Paper march 2016

the arts council sounds off on...

Three Months in South Korea

Debbie Hesse’s installation at the Hongti Art Center.

Debbie Hesse with Yunkyung Kam, heading by boat to the seaweed farms.

debbie hesse I recently returned from a three-month stint in Busan, South Korea, where I served as an international artist in residence at the Hongti Art Center, a residency focused on installation art, education, and community engagement. I divided my time between teaching at the Nakdong Estuary Eco Center, researching local seaweed cultivation practices, and preparing a video-based installation for a solo exhibition at the center.

While ultimately my overall experience was invigorating and rewarding, it was not without its challenges. It is an understatement to say that I was way beyond my comfort zone as a non-Korean-speaking foreigner living in a remote, industrial, non-English speaking region 7,000 miles from home.

The art center is located in the Sahagu Dadepo Rainbow Factory Village, where the government is funding programs to fuel the creation of an arts district. Low-cost artist studio spaces dot the area — one that does not yet provide the critical mass needed to ignite a creative roar. The center, intrigued with my interest in its ancient seaweed-farming traditions, had arranged for me to work with the local Eco Center where I participated in exploring the estuary and

• march 2016

sea by boat, created pressings and drawings using local seaweed, and created unique, seaweed field guides.

A wonderful local artist and teaching assist named Yunkyung Kam was hired to translate for me, which made life easier as I was able to interact more with the community. Yunkyung translated my presentations at the Eco Center and helped me teach. She also arranged for me to talk with some local seaweed farmers about their work and lives.

As a foreigner and an outsider, I never would have had this opportunity without her help. Most of the seaweed workers we met were women who had spent their entire lives on boats foraging for seaweed, or on land, washing, preparing, and bundling seaweed for markets and auction. One woman boasted that seaweed farming had put her daughter through college and graduate school. She was happy that her daughter was now working as a counselor in Seoul and not going into the family business.

Yunkyung and I spent a day at a local seaweed auction at Dadaepo Beach, a few miles from where I was staying. Parae, a bright green sea vegetable used to make seaweed salads, was brought to shore and prepared for auction. Unlike regions in the southern province of Joelle, which have mechanized

processing systems, everything in Dadaepo is done slowly and methodically, by hand. I looked around at the new high-rise buildings and a new subway stop under construction and wondered how much longer traditions would hold. I felt like I was witnessing a fading moment in a changing world.

What I did not get to see taught me as much about the local traditions and practices of seaweed cultivation as what I did get to see. After inquiries into paying visits to seaweed farms and processing plants fell on deaf ears, I learned that shamanistic beliefs kept outsiders at bay, as visitors — foreigners — could “jinx” the harvest, wreaking havoc on production and ultimately people’s livelihoods. Shamanistic practices define aquacultural practices throughout the country.

On Jeju Island, haenyeo (sea women) have dived for seaweed for more than 200 years.

Haenyeo are all over the age of 50, many in their 80s and 90s. These women dive without oxygen tanks, praying before each dive for the air (literally) to complete their work.

My three-month residency was punctuated by a two-week excursion to China where I met up with my husband and daughter to travel through Beijing, Shanghai, and Xi’an before returning to Busan to prepare for a solo exhibition at the art center. My instal-

lation integrated notions and materials culled from my surroundings — hanging columns of brightly colored market baskets, seaweed, and video footage, reconfigured to create a room-size multimedia collage that explored cycles of growth, consumption, and ritual.

The three months I spent abroad was both thrilling and, at times, terrifying. I left Asia regretting that I was not a more sophisticated global citizen. I wished that I could speak Korean and Mandarin and hated being perceived as a typical ethnocentric American. I am appreciative of having had this incredible opportunity to grow both personally and artistically and am eager to fold what I have learned into future projects. My next installation will be closer to home (as a recipient of a Regional Arts Initiative Grant from the Connecticut Department of Economic and Community Development’s Office of the Arts), at Vaiuso Farms: Greenhouse Growers, off I-95 in Branford, in a site-specific installation that juxtaposes sea plants with agriculture and aims to stimulate conversation about the future of food production. n For more information and images, visit debbiehesse.com.

Debbie Hesse is the Arts Council’s director of artistic services and programs.

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The Arts Paper march 2016

Exploring Process, Practice, and Inspiration choreographers converse at dancemasters weekend

Choreographer Ronald K. Brown, who will be part of a panel discussion and will lead a master class during this year’s DanceMasters Weekend, leads a class during the 2015 program. Photo by Sandy Aldieri of Perceptions Photography, courtesy of Wesleyan University CFA.

by lucile bruce

A

t Wesleyan University in Middletown, DanceMasters Weekend offers (even) more than performances by world-renowned companies and master classes with professional dancers. It offers a chance to hear major dance artists of our time reflect together on their current creative work.

“We don’t organize the conversation around a specific theme,” said Nicole Stanton, an associate professor and chair of Wesleyan’s dance department and moderator of the second annual DanceMasters panel discussion. “We start with the choreographers talking about their current projects — where is their passion right now.” From there, Stanton guides the conversation to discover shared themes, connections, and counterpoints. The artists don’t necessarily know one another, so their encounter offers a form of theater, as well.

“The audience has a chance to learn more about the choreographers’ process,” explained Stanton, “how they make what they make, and how they become inspired to make what they make.”

This year, the panel includes Ronald K.

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Brown (Evidence, A Dance Company), David Dorfman (David Dorfman Dance), Brian Brooks (Brian Brooks Moving Company), and Allison Orr (Forklift Danceworks).

Orr, who lives and works in Austin, Texas, is the only non-New York-based choreographer on the panel and “a very interesting woman who does community-based arts practice,” Stanton said.

“Practice”: it’s an important word in the lexicon of Stanton and other contemporary dance artists. When they say “practice” they mean not just the process of rehearsing — i.e. practicing their technique, perfecting their choreography in the lead-up to performances — but the essence of their work as artists. Practice isn’t preparing dance; practice is dance.

Trash Dance, a full-length documentary film, tells the story of Allison Orr’s work alongside Austin sanitation workers. “She did field work,” Stanton explained. “She embedded herself with the sanitation workers for several months and learned how they did what they did. Then, they staged a huge community dance performance based on their movements.”

Orr, Stanton said, “finds communities of people and celebrates what they already

do, finding beauty in their particular physical practice.”

This year, Orr is a guest scholar in Wesleyan University’s College of the Environment.

People from across Connecticut and New England attend DanceMasters Weekend — college and high school students, professors/teachers, longtime arts enthusiasts, and the general public. In moderating the conversation with choreographers, Stanton keeps students in the front of her mind.

“I try to find out why the artists are engaged in dance, why it’s important to them, how they got started, and how they sustain themselves. Young people get to hear about all the unique ways to enter the dance field and how to sustain dance as a life practice,” she explained.

This year, Stanton noted, the choreographers participating in the panel discussion offer unique perspectives on dance as an “integrative community practice.”

“They see what they do as part of a critical cultural conversation,” she explained.

“They are artists in the world and in their communities in very specific ways.”

Ronald K. Brown has worked with younger and older people in developing new work; he’s also one of the few Amer-

“I try to find out why the artists are engaged in dance, why it’s important to them, how they got started, and how they sustain themselves. Young people get to hear about all the unique ways to enter the dance field and how to sustain dance as a life practice.”

— Nicole Stanton march 2016 •

The Arts Paper march 2016

ican masters who teaches community-based dance classes.

“He has a regular standing class in New York City that anybody can come to. He’s been doing that for years. It’s extremely unusual and shows his commitment to being part of the vibrant dance life of his community,” Stanton said.

As for Stanton herself, she’s interested in the ways that dance is a form of activism, “changing the world.”

“I tend to make work that uses a diverse cast with diverse identities,” she said. “I try to create collaborative projects that speak to issues of our time.” She is currently at work on Storied Places, a collaborative project inspired by African American stories of migration and arrival, created with fellow faculty members Jay Hoggard and Lois Brown.

“We started off looking at African American music and dance forms from the rural south to the urban north,” Stanton explains.

“We used that as a springboard for thinking about place, home, and migration in a contemporary context.”

As another kind of springboard, Stanton says the DanceMasters panel discussion offers a unique opportunity for people to explore “what dance can be and do.”

In joining the conversation, we enter the still-unfolding story of contemporary dance in America. n

Wesleyan University associate professor of dance Nicole Stanton will lead a panel discussion with choreographers Brian Brooks, Ronald K. Brown, David Dorfman, Allison Orr, and Max Pollak, during DanceMasters Weekend. Photo courtesy of Wesleyan University CFA.

*See DanceMasters 2016 schedule on page 18*

Write Your Next Chapter

Mozart, Haydn & Beethoven Thursday, March 31, 2016 | 7:30pm | Woolsey Hall MOZART Overture to the Marriage of Figaro HAYDN Symphony No. 104, “London” BEETHOVEN Violin Concerto in D Major

Extend your story among our active senior living community. Make friends. Share stories.

Exchange ideas. Experience a wealth of cultural and educational opportunities at your doorstep and throughout the region.

Write a new chapter with us while living an affordable maintenance-free lifestyle.

Call us or go online today to request a FREE information kit.

203.883.4109 WhitneyCenter.com

WILLIAM BOUGHTON conductor TESSA LARK violin Haydn, Mozart, Beethoven… the NHSO explores iconic works by these pillars of Western classical music. Beethoven’s Violin Concerto will feature Tessa Lark, winner of the prestigious 2012 Naumburg International Violin Award and the latest addition to the NHSO’s New Generation Artist roster.

203.865.0831 x20 | NewHavenSymphony.org • march 2016

200 Leeder Hill Drive Hamden, CT 06517 701015

newhavenarts.org • 11

The Arts Paper march 2016

The Future of Books (Yes, There is One) lucy gellman There is always a chapter one, and that’s where this story begins. The year is 2007, the economy is starting to crash hard, and across state lines in New York, so is Avalon Publishing Group, dealing with plunging book sales and a buyout from independent publisher Perseus Book Group that will result in hundreds of layoffs. In Brooklyn, Princeton University grad Keith Wallman, an editor at Avalon, is about to get a pink slip. He knows it. And he’s wondering: As digital platforms lead to fewer and fewer book sales, and as more publishers combine for fear of collapsing in on themselves, is this the end of publishing as we know it?

Almost 10 years later, the now-senior-editor at Lyons Press — itself the victim of Rowman & Littlefield Publishing Group’s buyout of Globe Pequot Press three years ago — is pretty sure he has the answer. It’s a fairly certain yes. And a resounding no. Or rather, it’s that there is a massive grey area: that the publishing industry has been changing since its inception, and this is just the newest iteration of it.

“We thought it [digital publishing] was going to be really disruptive, but to be honest, it hasn’t been,” Wallman said, adding that it has challenged Lyons Press to think harder about the kind of books that it publishes, and the types of authors it seeks out. “We’ve gone through a real strategic shift to find niche categories for people, to meet them where they congregate, and to really understand what they’re interested in. We’re thinking about new markets.”

In publishing’s historical landscape — which includes most recently a spike, then steady decline, in e-book sales between 2014 and 2015, but reaches back to Mesopotamia’s tablets — that’s been the case.

Long, long before there were e-books, the solitary task of handwriting moved to hand printing, hand printing to cold-type repeat printing, and cold-type to the personal computer, rendering the repeat process obsolete.

Process begets its product: Digital distribution caught up because it had to for the industry to evolve. With the advent of the Internet came what Bennett LovettGraff, director of operations at RainmakerThinking and formerly a senior editor at Rowman & Littlefield, sees as the definitive precursor of e-books: the country’s first databases, informational collections from existing encyclopedias, magazines, bibliographies, and newspapers.

From those, an industry slowly rose up and gained steam. Publishers grappled with ways to prevent digital piracy, overwhelmed at the ease with which downloads and e-copies could be shared.

When they had, putting stronger restrictions — and punishments — into place, they pushed ahead with the market. Tablet-sized e-readers shed their blue-andwhite backgrounds and started to look like enhanced books, changing their text to serif and adding options to bookmark pages, highlight and annotate sections, expand text, and search for words in a

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dictionary. Amazon wised up and started selling the Kindle at a loss, knowing that people would buy e-books if the platform on which to read them was sleek and cheap enough. The market for self-publishing increased tenfold; so did one for long-forgotten forms like the novella, which lent themselves better to e-platforms than they did to print. Boom: With what some thought was inconceivable rapidity, readers started responding positively, trading their piles of physical books for robust digital libraries.

Chapter two started here: a wave of articles announcing, then decrying, the death of the page (if not also the author), asking with some urgency if readers were doing harm to themselves with a mass consumption of digital media. For New Haveners like Tim Parrish, professor of creative writing at Southern Connecticut State University, the answer was an immediate yes. He saw presses large and small folding before his eyes, or fighting to stay open, undergraduate students using iPads instead of flipping through pages, and — most distressing to him — authors making less and less in an increasingly digital and freelance economy.

“It’s a really complicated landscape for me, but I’m sad that it seems as though paper books will eventually go out of fashion,” he said. “At their best, books are art objects. With digital publishing, I think writing is sort of disposable now in a way that it wasn’t before.”

He’s not alone in the concern. Mark Oppenheimer, whose Zen Predator of the Upper East Side is its own case study in the opportunities digital publishing affords for longform essays, added that with the positives of digital publishing come economic complications, born of extremely low royalties on the publishing end, and a saturation of the market (and the explosion of the blogosphere, which is another topic altogether) where journalists and authors could once make a reliable, if modest, living. “[Digital] is a terrific way to get a long or complex piece into print; it’s superior to trade publishing in that it lives forever,” he said. “But it’s a more crowded marketplace, not as certain, and the pay is terrible.

Thirty years ago, if you wrote a 10,000word piece, you’d get paid for it.”

Now, not so much. “The book is a much more durable technology than it looked like it was going to be,” he expressed, “but journalism has gone to e-publishing. Way more readers are online than in print. There’s no loss of prestige … but there’s less money to pay us.”

He and Parrish, of course, are responding to different obstacles posed by the same problem. Newspapers, as well as journals like The Atlantic and The New Republic (both of which published excerpts of The Zen Predator) are grappling with the sustainability of print as their audiences move online and add sleek outlets like Slate, Salon, Vox, and Mic to their daily news rotations.

Presses, meanwhile, are facing an entirely different challenge: the big ones are folding, or buying one another out, and small ones, already operating on tight budgets, are limiting their output further to stay alive.

That’s a lot of gloom and doom, Wallman says, for a reality that is in fact more optimistic. Presses large and small are thinking smarter about how they want to move forward, in a way they may not have been able to had it not been for the proliferation of Web-based platforms. Genres that thrive on their tactility — the zine, chapbook, and limited release, artfully bound book — aren’t going anywhere, because they have a devoted following, evident at gatherings like MoMA PS1’s annual art-book fair. That’s the case for many small presses, too. Meanwhile, at Guilford-based Lyons, a trade publisher dedicated largely to military history, sports, crime writing, nature, and animals, 80 percent of sales are still print editions.

The other 20 percent in digital is expected to taper off and stabilize.

Nowhere is that fusion of Web- and print-based innovation clearer than at the Yale University Press, where a sort of epilogue — if not footing for a sequel — begins. With Director John Donatich, a dedicated bibliophile himself, at its helm, the press is making a very smooth transition into the digital realm while maintaining — and growing — its commitment

to print in new ways. That’s supported in part by the university press ecosystem, different from that of trade houses, but largely draws from how attuned the organization has remained to current trends.

“Our philosophy right now is that print is still dominant,” Donatich said. Numbers support that: At YUP, digital sales comprise only 16 percent of overall revenues, and closer to 8 percent for art books.

“But there’s a digital archival publishing market, and it needs a sort of membership for it to survive.” From that, the press has developed a model that seems to be working: All books are put out in print and digital forms, and there’s a new digital publishing wing, with fresh projects like the interactive Albers App, Stalin Archive, a Chinese-language program that is gaining academic attention nationally and internationally, and a new Andrew W. Mellon Foundation-funded art historical platform intended to woo even old school art historians.

And the future?

“My house in New Haven is cluttered with books,” he said. “And I feel pretty good about that.”

Perhaps, he added, so should we. n

Families ~ Events ~ Community

Photography Judy Sirota Rosenthal info@sirotarosenthal.com www.sirotarosenthal.com 203-281-5854

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The Arts Paper march 2016

CALENDAR

The Elm Shakespeare Company is offering a 10-week “Teen Troupe Spring Class,” at Southern Connecticut State University, beginning March 5, with culminating performances in May. Photo by Pam Sogge.

Classes & Workshops ACES Educational Center for the Arts 55 Audubon St., New Haven. 203-777-5451. aces.org/eca.

Acting Classes for Kids and Teens. Pantomime, improvisation, theater games, movement, and the staging of a one-act play. Age groupings: 7-11 and 12-15 years. Performance at end of session. Every Saturday through May 7. Call Ingrid Schaeffer at 203-795-9011 or email ingrids@optonline.net for more info. 9 a.m.-12:30 p.m.

East Street Arts 597 East St., New Haven.

203-776-6310. eaststreetartsnh.org.

BYOB Wine & Design Jewelry-Making Workshop.

Do you have sentimental charms or a single earring you cannot part with? Bring them to class and you can design your own Alex & Ani inspired bracelet or you can choose from our supply of beads and make unique charms of your own design. We will also be designing a pair of drop-style earrings on sterling fishhook ear wires. March 4. $25. 6-8 p.m.

Guilford Art Center 411 Church St., Guilford.

203-453-5947. guilfordartcenter.org.

Winter 2016 Registration. Registration is open for winter 2016 classes. The semester runs through March 4. Classes and workshops are available for children and adults in blacksmithing, ceramics,

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drawing, fiber, glass, metals, painting, photography, sculpture, weaving, and more.

Southern Connecticut State University 501 Crescent St., New Haven. 203-874-0801. elmshakespeare.org.

Teen Troupe Spring Classes. Immerse yourself in great theater! Become the Shakespearean actor you can be! This 10-week class combines training and rehearsal to build an acting ensemble and creates a fully realized performance of a Shakespeare play! Teens only! Ages 13-18. Saturdays, March 5, March 12, and March 19; April 2, April 9, April 16, and April 30; May 7, May 14, May 21, and May 22, with performances on the final two afternoons. See elmshakespeare.org for details. 12-4 p.m.

Suzanne Siegel Studio 2351 Boston Post Road, Bldg.

2, Suite 210, Guilford. 203-215-1468. suzannesiegel.net.

Painting Workshops. Workshops with contemporary approaches taught by Brooklyn artist Elizabeth O’Reilly. See workshops page on website. $250-$350.

Yale Peabody Museum of Natural History 170 Whitney Ave., New Haven. 203-695-1215. ctnsi.com.

Winter/Spring Art Classes. Come take an exciting art class with Connecticut Natural Science Illustrators at the Yale Peabody Museum of Natural History. We are offering Basic Drawing, Scientific Light on Form, Drawing and Painting Birds and Bird Models, Basic Watercolor, Basic Colored Pencil,

and Drawing Flowers and Butterflies. To register, visit ctnsi.com, email ctnsi.info@gmail.com, or call 203-695-1215. Classes held Tuesdays, Thursdays, and Saturdays, 10 a.m.-1 p.m., through May 12.

Modern/Contemporary Dance Classes Taught by Annie Sailer. Ongoing adult and intermediate level classes. Mondays, 6–7:30 p.m., and Thursdays (time to be announced), in the New Haven area (contact Annie for location). $15 per class. anniesailer@gmail.com. anniesailer.com.

Private Art Instruction For adults and children.

Learn in a working artist’s studio. Ideal for artists, home-schooled youngsters, and those with special needs. Portfolio preparation offered. Draw, paint, print, and make collage in a spacious light-filled studio at Erector Square in New Haven. Relaxed and professional. I can also come to you. Lessons created to suit individual. References available.

Email lizpagano@snet.net.

Watercolor Workshop Contemporary approaches with watercolors. Play and experimentation with water-based mediums are our priority in this workshop. Through guided exercises, slide presentations, individualized instruction, and group critiques, you will come away with new toolbox of ideas to use! Suzanne Siegel Studio, 2351 Boston Post Road, Building 2, Suite 210, Guilford. March 12 & March 13, 9:30 a.m.-4 p.m. Cost is $250. For

full description and registration information for this workshop and more upcoming workshops, visit suzannesiegel.net/workshops.

Writing Workshops The Company of Writers is a new creative community for writers of all ages and levels of experience. We offer prose and poetry workshops, in-person and online services, a summer writers’ conference for teens, and a manuscript consultancy for book-length material. All our faculty are published authors, and many are teachers, editors, or publishers. Course descriptions available online at companyofwriters.net or by contacting Terry at (203) 676-7133. We all have a story to tell.

What’s yours?

Dance 4 Friday Solid Gold — Dancing Through the Decades Put your dancing shoes on and help support the Neighborhood Music School Dance Program! Join instructors, students, friends, and supporters of Neighborhood Music School for an evening of dancing and socializing to the groovy beats of Soul Sound Revue. Complimentary refreshments, wine, and beer. Professional child care is available (space is limited). March 4. 7-10 p.m. Neighborhood Music School, 100 Audubon St., New Haven.

203-624-5189. neighborhoodmusicschool.org.

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5 Saturday DanceMasters Weekend — Choreographers Conversation Meet four Master Class teachers during a noontime conversation with choreographers Brian Brooks, Ron Brown, David Dorfman, Allison Orr, and Max Pollak. Moderated by associate professor of dance and associate professor of African American studies and environmental studies Nicole Stanton. Woodhead Lounge, Exley Science Center, Room 184, Wesleyan University Center for the Arts, 265 Church St., Middletown.

March 5. 12-1 p.m. 860-685-3355. wesleyan.edu/ cfa/dancemasters.

5-6 Saturday-Sunday DanceMasters Weekend — Master Classes Ten master classes provide an opportunity for intermediate to advanced dance students and dance professionals to explore diverse dance techniques.

Saturday, March 5, 10 a.m.-5 p.m. and Sunday, March 6, 11 a.m.-2:30 p.m. Bessie Schönberg Dance Studio, Wesleyan University Center for the Arts, 247 Pine St., Middletown. 860-685-3355. wesleyan.edu/cfa/dancemasters.

12-13 Saturday-Sunday Connecticut Dance Alliance’s Connecticut Classic The first Connecticut Dance Alliance classical ballet summer scholarship competition. Hosted

by Westover School in Middlebury. Age categories: 12-20 years old for girls; 12-22 years old for boys. Saturday masterclasses: 1-5 p.m. Sunday competition: 9 a.m.-5 p.m. Westover School, 1237 Whittemore Road, Middlebury. 860-673-1728. ctdanceall.com.

Exhibitions Artspace 50 Orange St., New Haven. 203-7722709. artspacenh.org. hello world! An exhibition that explores how a queer identity can function as a clear projection of self while simultaneously resisting and reframing normative definitions of identity. The complex, humorous, and deeply personal approaches each artist brings to the exhibition offers a visual syntax of queer experiences. On view through March 2.

Wednesday-Thursday, 12-6 p.m.; Friday-Saturday, 12-8 p.m. Free.

Project. Fold. Collapse. This exhibition in our project room features work by artist Jason Fiering. On view through March 2. Wednesday-Thursday, 12-6 p.m.; Friday-Saturday, 12-8 p.m. Free.

City Gallery 994 State St., New Haven. 203-7822489. city-gallery.org.

Nancy Eisenfeld. City Gallery presents new work by Nancy Eisenfeld. In the Clouds features paintings and sculptures that express the movement and shapes of the clouds. Weather changes in the clouds are interpreted from stormy and violent to placid and playful. Nancy imagines what toxic waste and communication systems might look like in cloud interior. On view Thursday-Sunday, March 3-April 3. 12-4 p.m. or by appointment. Artist’s reception: Friday, March 4, 5-7 p.m. Free and open to the public.

College of East Asian Studies Gallery at Mansfield Freeman Center Wesleyan University Center for the Arts, 343 Washington Terrace, Middletown.

860-685-2330. wesleyan.edu/ceas/exhibitions.

Light of the East — The Beauty of Movement in Silence. Prominent Korean digital artists Youngho Kim and Jisong Lee examine the “beauty of movement in silence” through photography and video in their first exhibition outside Korea. On view through May 22. Tuesday-Sunday, 12-4 p.m. Free.

Connecticut Office of the Arts 1 Constitution Plaza, Hartford. 203-772-2709. artspacenh.org.

By and by ... at home with Sam and Livy. Artspace curators Sarah Fritchey and Rashmi Talpade remake the rules of a game played by the American author Samuel Clemens, better known as Mark Twain, in his Hartford home, bringing it into the white-cube setting. Presented at The Gallery at Constitution Plaza in the Connecticut Office of the Arts. On view through March 4. Free.

Davison Art Center Wesleyan University Center for the Arts, 301 High St., Middletown. 860-6852500. wesleyan.edu/dac.

Passion and Power—German Prints in the Age of Dürer. As part of the Museum Studies course taught by Curator Clare Rogan, 13 students selected works representing princely power, elaborate ornament, religious and secular passion, and the transmission of the classical past. On view through March 3. Tuesday-Sunday, 12-4 p.m. Free.

Good New Cage Oi Fortin, 694 Main Street South, Woodbury. 203-266-4663. ¡Salud! A solo exhibition of monotypes by Oi Fortin.

Several of the prints in this exhibition are from my recent series titled Catalan, an homage to the Spanish masters, in particular Antoni Gaudí. In these prints I am trying to capture the sensuality of Barcelona and its environs, and the light that suffuses its citizens as they work and recreate.

On view March 1-May 3. Artist reception: Sunday, March 6, 3-5 p.m. Free.

Kehler Liddell Gallery 873 Whalley Ave., New Haven. 203-389-9555. kehlerliddellgallery.com.

Matter And Time/Many Voices, One Song. See how artists interpret the natural world in two individual shows: Matter and Time, a photography exhibit by KLG member artist Roy Money, and Many Voices/ One Song, a mixed-media exhibit by guest artist Ava Orphanoudakis. On view through March 20.

Visit website for gallery hours. Free.

Solo Shows by Laura Barr and Penrhyn Cook. Two news shows grace the walls of Kehler Liddell Gallery: paintings and drawing by Laura Barr, and Wishful Thinking by photographer Penrhyn Cook.

On view March 24-April 24. Visit website for gallery hours. Neal Fitzpatrick, a Yale University trained professional classical guitarist and composer will perform at an opening reception, April 3, 3-6 p.m. Free.

New Haven Museum 114 Whitney Ave., New Haven. 203-562-4183. newhavenmuseum.org.

Fun, Fascinating and Made in the Elm City. From Clocks to Lollipops: Made in New Haven highlights an astonishing variety of goods that were, and some that still are, produced in the Elm City. The exhibition runs through September 3 and features more than 100 objects, advertisements, trade cards, photographs, and more, with a wide-ranging products made in New Haven. Friday, 10 a.m.-5 p.m., Saturday, 12-5 p.m. Free first Sundays, 1-4 p.m. See website for more details.

Susan Powell Fine Art 679 Boston Post Road, Madison. 203-318-0616. susanpowellfineart.com.

Spring Into Art. Group show: 21 award-wining artists, with 65 paintings on view including landscapes, seascapes, still lifes, figurative, and abstract works. Artists include Kathy Anderson, Del-Bourree Bach, Peter Bergeron, Dan Brown, Grace DeVito, David Dunlop, James Magner, Deborah Quinn-Munson, Cora Ogden, Polly Seip, Dennis Sheehan, and George Van Hook. March 11-April 2. Opening reception: Friday, March 11, 5-8 pm. Tuesday-Saturday, 11 a.m.-5 p.m. Free.

The Arts Council’s Sumner McKnight Crosby Jr. Gallery Arts Council of Greater New Haven, 70 Audubon St., 2nd Floor, New Haven. 203-7722788. newhavenarts.org/category/crosbygallery.

Jazz: An Exhibition of Poetry, Prints, and Photography.

This exhibition is curated by Shaunda Holloway.

The works will be on view to the public Monday-Friday, 9 a.m.-5 p.m., through March 4 at the gallery located at 70 Audubon Street, Second Floor, New Haven. Free.

The Funky Monkey 130 Elam St., Cheshire. 203439-4385. funkymonkeylounge.com.

Exhibition of Land, Sea, and Moonscapes. Encaustic paintings by Ruth Sack. On view through March 31. Tuesday-Wednesday, 5-10 p.m.; Thursday, 5-11 p.m.; Friday-Saturday, 5 p.m.-1 a.m. Free.

Perspectives ... The Gallery at Whitney Center Whitney Center 200 Leeder Hill Drive, Hamden.

203-772-2788. newhavenarts.org.

Traduzindo Cor at Perspectives … The Gallery at Whitney Center. Traduzindo Cor (Translating Color) is a multi-media exhibition presented by the Arts Council of Greater New Haven that brings together artists from New England and Cape Verde Islands who use color to communicate ideas about personal and cultural identity and nature in a cross-cultural conversation that examines the universality of color as a powerful, expressive language of its own. On view through April 29. Tuesday and Thursday, 4-7 p.m.; Saturday, 1-4 p.m. Free.

Whitney Humanities Center 53 Wall St., New Haven. 203-432-0670. whc.yale.edu/gallery-whitney.

Painting in Time: Discovery, Analysis, and Interpretation of a Roman Shield. The current exhibit presents a multi-disciplinary study of one of the site’s most unique artifacts and one of archaeology’s rarest finds — a wooden Roman shield painted with scenes from the Trojan War. On view through June 15. During fall and spring terms, the Gallery at the Whitney is open to the public Monday and Wednesday, 3-5 p.m., or by appointment. Free.

Yale Institute of Sacred Music 409 Prospect St., New Haven. 203-432-3220. ism.yale.edu/calendar.

Between Clock and Bed. Exhibition curated by Jon Seals (MAR ‘15). Works by Laura Mosquera, Natalija Mijatovic, Kirsten Moran, Stephen Knudsen, Kenny Jensen, and Ronnie Rysz. March 9-June 2.

Opening reception: Wednesday, March 9, 5 p.m.

Exhibition hours are weekdays, 9 a.m.-4 p.m. until June 2. Free and open to the general public.

Film 3 Thursday Faith and Social Change in the Digital Era Internet screening presented by Rahiel Tesfamariam; discussion led by Candace E. West, Social Science Research Council. 7-9 p.m. 7-9 p.m. Yale Institute of Sacred Music, Whitney Humanities Center, 53 Wall St., New Haven. 203-432-3220. ism.yale.edu/calendar.

6 Sunday The End of the Tour Based on David Lipsky’s Although of Course You End Up Becoming Yourself, an account of time he spent with the late David Foster Wallace during a book tour in support of Wallace’s 1996 novel Infinite Jest, The End of the Tour stars Jesse Eisenberg as Lipsky and Jason Segel as Wallace. In partnership with The Institute Library, Best Video Film & Cultural Center, located at 1842 Whitney Ave., in Hamden, will screen the film at 2 p.m. Admission is $10. Donald Margulies, who wrote the screenplay for The End of the Tour, will answer questions after the screening.

Brenda Pressley stars in Emily Mann’s Having Our Say: The Delany Sisters’ First 100 Years at Long Wharf Theatre through March 13. Photo courtesy of Long Wharf Theatre.

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The Arts Paper march 2016

Orchestra New England Music Director James Sinclair, seen here talking to the audience, leads the ensemble in a March 12 “Baroque OnDemand” performance at the United Church on the Green that will feature a program voted on by concertgoers.

Photo by Harold Shapiro.

Galas & Fundraisers

Music

Saturday, April 30

1 Tuesday

Artspace Gala & Auction: Back to the Future In celebration of our 30th anniversary, we’re spending the night in 1986. With a live auction of artworks orchestrated by Christie’s devilishly charming auctioneer Guy Bennet, a Delorean-inspired photo booth, and our specialty Mad Scientist cocktail. All proceeds will support our Three Decades of Change anniversary programs and campaign. April 30. Artspace, 50 Orange St., New Haven. 203-772-2709. artspacenh.org.

Toneburst Sampler The Toneburst Laptop and Electronic Arts Ensemble performs new works for live-electronics and laptop ensemble under the direction of assistant professor of music Paula Matthusen. 8 p.m. Free. Wesleyan University Center for the Arts, Ring Family Performing Arts Hall (former CFA Hall), 287 Washington Terrace, Middletown. 860-685-3355. wesleyan.edu/cfa/events.

Kids & Families Musical Folk First Presbyterian Church, 704 Whitney Ave., New Haven. 203-691-9759.

MusicalFolk.com.

Musical Folk — Offering Music Together Classes for Babies and Toddlers. A fun creative music and movement program for babies through children 5 years old and the ones who love them! Come sing, dance, and play instruments in an informal setting. Classes and demonstration classes are ongoing throughout the year. Classes are held every day (morning, afternoon, and weekend classes available) at various locations in New Haven, Woodbridge, Hamden, East Haven, and Cheshire, through March 18. Demonstration classes are free. 9:30 a.m.-5:30 p.m. Ten-week semester is $216 and includes a CD and book.

Each semester features a new collection of music. Four semesters per year.

• march 2016

4 Friday The Orthodox Paschal Cycle Georgian chant performed by members of the Anchiskhati Church choir from Tblisi, Georgia. 8-10 p.m. Free and open to the general public. Yale Institute of Sacred Music, Christ Church, 84 Broadway, New Haven.

203-432-3220. ism.yale.edu/calendar.

5 Saturday Neighborhood Music School Faculty Concert Series Daniel Duncan, trumpet; Naomi Senzer, flute; guest Andrew Gordon, piano. “Croatian” Trio

by James Stephenson, Concerto in D Major by Heinrich Stolzel, works by Marc Delmas, Jacque Casterode, Alexandre Cellier, and Vincent Bach. 7 p.m. Free. Neighborhood Music School, 100 Audubon St., New Haven. 203-624-5189. neighborhoodmusicschool.org.

Winter Family Concert Concert features Haydn’s Symphony No. 101 and selections from Donizetti’s L’Elisir D’Amore. A family friendly concert, there will be a narrator and vocal soloists from the Yale School of Music. Books will be given to all children attending the concert. 2 p.m. Admission is free.

New Haven Chamber Orchestra, Worthington

Hooker School, 691 Whitney Ave., New Haven.

203-799-2240. newhavenchamberorchestra.org.

6 Sunday Magnificats Old and New Yale Camerata, Glee Club, and Schola Cantorum perform with Matthew Halls, guest conductor. 4-6 p.m. Free and open to the general public. Yale Institute of Sacred Music, Woolsey Hall, 500 College St., New Haven. 203432-3220. ism.yale.edu/calendar.

11 Friday Juxtapositions of Early Music and Contemporary Compositions Grace Feldman, Marshall Barron, Phoebe Barron, Julia Blue Raspe, and Margaret Ann Martin. 12 p.m. Free. Neighborhood Music School, 100 Audubon St., New Haven. 203-6245189. neighborhoodmusicschool.org.

Ragtime Syncopation Gretchen Frazier, violin; Chris Radawiec, flute; Reesa Gringorten, clarinet; Yun-Yang Lin, cello; Art Hovey, tuba; and George Melillo, piano. Elite Syncopations by Scott Joplin, The Ragtime Dance by Harry Mills. 7 p.m. Free.

Neighborhood Music School, 100 Audubon St., New Haven. 203-624-5189. neighborhoodmusicschool.org.

12 Saturday Baroque OnDemand Masterworks of the Baroque period chosen by music fans voting for their favorites online at orchestranewengland.org. Who will be included in the final program? Bach, Corelli, Gabrieli, Handel, Lully, Pachelbel, Purcell, Rameau, Sammartini, Telemann, Vivaldi? Join us to find out!

Tickets are available online and at the box office one hour prior to performance. Doors open 30 minutes prior to the concert. 7:30 pm $20 general admission, $35 reserved seats, $5 student rush

tickets at the door. Orchestra New England, United Church on the Green, 270 Temple St., New Haven.

203-777-4690. orchestranewengland.org.

19 Saturday From Russia with Soul From Russia with Soul: An Evening of African-American Spirituals and Russian Song. Dan Gurvich, baritone;Tiffany Jackson, soprano; Alexis Zingale, piano. Works by Harry Burleigh, John Musto, Tchaikovsky, Rachmaninoff, and Bulat Okudzhava (Ne Poi, Krasavitsa by Sergei Rachmaninoff, Litany by John Musto). 7 p.m. Free.

Neighborhood Music School, 100 Audubon St., New Haven. 203-624-5189. neighborhoodmusicschool.org.

NHSO Pops Presents: A Debbie Gravitte Cabaret Tony Award-winning Broadway diva Debbie Gravitte sings her favorite songs from hit Broadway shows. Featuring a small ensemble of New Haven Symphony Orchestra musicians and pops conductor Chelsea Tipton as emcee. Hamden Pops Series sponsored by Whitney Center. KidTix and Blue Star Tickets sponsored by Frontier. 2:30pm $35/$49. KidTix and Blue Star Tickets available. $10 student tickets w/ ID. New Haven Symphony Orchestra, Hamden Middle School, 2623 Dixwell Ave., Hamden. 203-865-0831.

NewHavenSymphony.org.

20 Sunday NHSO Pops Presents: A Debbie Gravitte Cabaret Tony Award-winning Broadway diva Debbie Gravitte sings her favorite songs from hit Broadway shows. Featuring a small ensemble of New Haven Symphony Orchestra musicians and pops conductor Chelsea Tipton as emcee. Shelton Pops Series is sponsored by RD Scinto. KidTix and Blue Star Tickets sponsored by Frontier. 3 p.m. $35/$49. KidTix and Blue Star Tickets available.

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The Arts Paper march 2016

$10 student tickets w/ID. New Haven Symphony Orchestra, Shelton Intermediate School, 675 Constitution Blvd. North, Shelton. 203-865-0831.

NewHavenSymphony.org.

31 Thursday Mozart, Haydn, and Beethoven The New Haven Symphony Orchestra explores iconic works by these pillars of Western classical music. Beethoven’s Violin Concerto will feature Tessa Lark, winner of the prestigious 2012 Naumburg International Violin Award and the latest addition to the NHSO’s New Generation Artist roster. KidTix and Blue Star Tickets are sponsored by Frontier. 7:30 p.m. $15-$74. KidTix and Blue Star Tickets available. $10 student tickets w/ ID. New Haven Symphony Orchestra, Woolsey Hall, 500 College St., New Haven. 203-865-0831. NewHavenSymphony.org.

Special Events 8 Tuesday March Meeting and Artist Demonstration Guest artist Bivenne Harvey Staiger will demonstrate painting a floral in watercolor with emphasis on achieving strong color and light, emphasized by rich shadows. Inspired by nature, Bivenne paints mainly flowers and animals, especially birds. She is an elected member of the Salmagundi Art Club and a recipient of many awards for her watercolors. Refreshment and conversation at 7 p.m., brief business meeting at 7:15 p.m., artist program at 7:30 p.m. If the library is closed due to inclement weather, the meeting will be cancelled. Free and open to the public. Hamden Public Library, 2901 Dixwell Ave., Hamden. 203-494-2316. hamdenartleague.com.

Theater

Obie Award-winning resident director Evan Yionoulis directs Shakespeare’s Cymbeline at the Yale Repertory Theatre, March 25-April 16. Photo by Beowulf Sheehan.

Out of This World: From the Bard to Brecht Join Legacy Theatre in Yale’s Planetarium this March for a run of theater inside the Leitner Family Observatory and Planetarium in New Haven. Legacy’s cast will give a stellar performance in a collection of works from some of the greatest playwrights who

ever lived all the while inside the domed landscape of the universe itself! Sure to be out of this world!

March 4 and March 5. 7 p.m. $25. Leitner Family Observatory and Planetarium, 355 Prospect St., New Haven. 203-208-5504. LegacyTheatreCT.org.

Stomp Explosive, provocative, sophisticated, sexy, and utterly unique, “Stomp is as crisp and exuberant as if it had opened yesterday.” — The New York Times. The young performers use everything but conventional percussion instruments — trashcans, brooms, matchboxes — to fill the stage with compelling and infectious rhythms. March 11 through March 13. Friday at 8 p.m.; Saturday at 2 p.m. and 8 p.m.; Sunday at 1 p.m. and 6:30 p.m. Price varies by seat location. Shubert Theater, 247 College St., New Haven. 203-562-5666. shubert.com.

Annie The world’s best-loved musical returns in time-honored form. Directed by original lyricist and director Martin Charnin and choreographed by Liza Gennaro, this production of Annie will be a brand new incarnation of the iconic original. Featuring book and score by Tony Award-winners Thomas Meehan, Charles Strouse, and Martin Charnin.

March 29 through April 3. Tuesday, Wednesday, and Thursday at 7 p.m.; Friday at 7:30 p.m.; Saturday at 2 p.m. and 7:30 p.m.; and Sunday at 1 p.m. and 6:30 p.m. Price varies by seat location. Shubert Theater, 247 College St., New Haven. 203-5625666. shubert.com.

The Arts Paper advertising and calendar deadlines: The deadline for advertisements and calendar listings for the April 2016 edition of The Arts Paper is: Monday, February 29, at 5 p.m.

Future deadlines are as follows: May 2016: Monday, March 28, 5 p.m.

June 2016: Monday, April 25, 5 p.m.

July/August 2016: Tuesday, May 31, 5 p.m.

Calendar listings are for Arts Council members only and should be submitted online at newhavenarts.org. Arts Council members can request a username and password by sending an e-mail to communications@ newhavenarts.org.

The Arts Council’s online calendar includes listings for programs and events taking place within 12 months of the current date.

Listings submitted by the calendar deadline are included on a monthly basis in The Arts Paper.

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The Arts Paper march 2016

BULLETIN BOARD Call For Artist Members Kehler Liddell Gallery in New Haven is seeking applications from new prospective members. Visit kehlerliddell.com/membership for more information.

Artists Artspace anticipates funding eight or nine projects for its 19th annual City-Wide Open Studios festival, Game On! October 7–November 17.

Winning proposals will receive an honorarium, materials budget, and staff coordination services to enable them to realize their projects. Learn more/ apply at artspacenh.wordpress.com/2016/01/05/ open-call-game-on. Deadline to apply: March 21.

Artists Artspace invites artists working in collage, printmaking, photography, drawing, painting, and other 2-D forms of expression to apply to join our Flatfile, our ever-changing collection of works by notable local and regional artists. To apply, visit artspacenh.wufoo.com/forms/open-call-flatfile-2016. Deadline to apply: March 21.

Artists For Arts Center Killingworth’s 2015–2016 Spectrum Gallery exhibits, including the Gallery Show. Seeking fine artists and artisans in all media.

For artist submission, visit spectrumartgallery.org or email barbara@spectrumartgallery.org. Spectrum Gallery and Store, 61 Main St., Centerbrook.

Artists The Gallery Review Committee of The New Alliance Gallery at Gateway Community College is looking for artists to submit their resumes and images for possible exhibition in 2016. Please send your resume and cover letter along with a DVD of not less than 20 and no more than 25 images to: Gallery Review Committee, Gateway Community College, 20 Church St., Room S329, New Haven, CT 06510.

Artists The Tiny Gallery: a very big opportunity for very small art. The Tiny Gallery is a premiere space for “micro” exhibitions in the historic Audubon Arts District, located within the lighted display “totem” outside Creative Arts Workshop, at 80 Audubon St., in New Haven. The Tiny Gallery is open to the public 24 hours a day, seven days a week, 365 days a year. Submissions will be considered on a rolling basis and should include a written proposal, artist statement, and images of artwork. Call (203) 562-4927 x. 14, email gallery@ creativeartsworkshop.org, or visit creativeartsworkshop.org/tiny.

Artists “Working from the Figure.” Art inspired by the Human Figure. Through March 13. Juror for entry and prizes: Sean Gallagher, artist, printmaker, professor Central Connecticut State University.

First Prize $150, second prize $100, third prize $75, honorable mention $100 gift certificate from Aardvark Framing. Prospectus: files.ctctcdn.com.

Artists Shoreline ArtsTrail Open Studios Weekend 2016. Shoreline ArtsTrail seeks Branford, Guilford, and Madison artists for 15th annual Open Studios Weekend, November 19 & November 20. Media: pottery, glass, painting, jewelry, sculpture, weaving, prints, photography, textiles, quilts, paper, wood.

See Call to Artists at shorelineartstrail.com for benefits/requirements/application/dues. Deadline: March 16.

Instructors Are you a maker who loves to share your knowledge? If yes, MakeHaven has been looking for you. We are hiring instructors to teach: fabrication, woodworking, 3-D printing, sewing, mechanics, brewing, arduino, electronics, cooking, and other maker activities. What could you teach us? makehaven.org.

• march 2016

Musicians The New Haven Chamber Orchestra has openings in the violin, viola, and bass sections for the 2015–2016 season. The orchestra rehearses on Tuesday evenings at the Fair Haven School, 164 Grand Ave. To sit in on a rehearsal or to audition, contact the orchestra via email at info@newhavenchamberorchestra.org.

Photographers Are you a fan of photography?

A program of the Arts Council of Greater New Haven, the Photo Arts Collective aims to cultivate and support a community of individuals who share an interest in photography through workshops, lectures, exhibitions, portfolio reviews, group critiques, and special events. The Photo Arts Collective meets the first Thursday of each month at 7 p.m. at the Kehler Liddell Gallery, 873 Whalley Ave., New Haven.

Singers The award winning Silk’n Sounds Chorus is looking for new members from the area. We invite women to join us at any of our rehearsals to learn more. We enjoy four part a cappella harmony in the barbershop style, lively performances, and wonderful friendships. Rehearsals are every Tuesday, 6:30 p.m.–9 p.m., at the Spring Glen United Church of Christ, 1825 Whitney Ave., Hamden.

Contact Lynn at (203) 623-1276 for more information or visit silknsounds.org.

Singers New Haven Oratorio Choir invites auditions by choral singers (all parts). We are a chamber ensemble rehearsing weekly (Wednesday nights) at Church of the Redeemer in New Haven.

We perform a varied repertoire of sacred and secular classical music, including contemporary composers, with two main concerts per season (December and May). Our 2015–16 season will include works by Tavener, Gardiner, and Brahms. An audition consists of meeting with Artistic Director Daniel Shaw, doing some general vocalizing and performing a one-to-two minute unaccompanied selection chosen by the singer. An audition may be scheduled at that time, or go to our web site, nhoratorio.org to learn more about NHOC, and follow the link there to schedule an audition.

Volunteers Volunteers are a vital part of Artspace’s operation. Volunteering with Artspace is a great way to support the organization, meet new people, and develop new skills. Our volunteers provide a service that is invaluable to making Artspace function smoothly. We simply couldn’t operate without the tremendous support of our volunteers. To find out more about volunteer opportunities, please contact Shelli Stevens shelli@ artspacenh.org.

Volunteers, Artists and Board Members Secession Cabal, a New Haven-based group of outsider artists working in theater, film, visual art, and other mediums seeks people for our board, sponsors, volunteers with fundraising experience, and artists working in all mediums who agree with our mission and create radical, brave work. Volunteers/ board members/sponsors: Please send a brief introduction. Artists: Please email a letter of interest/introduction with examples of your bravest work. More information at art-secession.org.

Creative Services Art Installation Specialists, LLC An art-handling company serving homeowners, art professionals, offices, galleries, and museums. We offer packing, long-distance or local shipping, and installation of paintings, mirrors, plaques, signage, tapestries, and sculpture, as well as framing, pedestals, exhibit design, and conservation. Contact Paul Cofrancesco at (203) 752-8260, Gabriel Da Silva at (203) 982-

3050, e-mail: artinstallationspecialistsllc@gmail. com, or visit artinstallationspecialistsllc.com.

Art Mentoring The goal of art mentoring is to give artists individual feedback on their artwork and help them to focus and develop a cohesive body of work. More information at suzannesiegel.net.

“I’ve taken many classes and workshops with Suzanne over several years. I totally enjoy her style of teaching. I’m about to use several adjectives to describe Suzanne, and I’m selecting them with great thought,” said Anne Coffey. “She is calm, creative, prepared, a problem-solver, and very encouraging.

Suzanne has helped me greatly to progress in my art.”

Chair Repair We can fix your worn-out chair seats if they are cane, rush, Danish cord, Shaker tape, or other woven types. Celebrating our 25th year!

Work is done by artisans at The Association of Artisans to Cane, a project of Marrakech, Inc., a private nonprofit organization that provides services for people with disabilities. Open Monday-Thursday, 8 a.m.–4 p.m.; Friday 8 a.m.-3 p.m.

(203) 776-6310.

Creative Events/Crafting Parties Our beautiful light-filled space in East Rock is the perfect spot to host an intimate creative gathering or party. We’ll work with you to provide the programming, snacks, drinks, and decorations that will make your event memorable. Rent our space for up to three hours. thehvncollective.com.

Creative Services Video recording with Sony, photography and pictures for sale, personalized/custom greeting cards, paper banners “done by hand,” mutant portraits, slideshows, host of Oasis D’Neon Video Magazine, New Haven history (artists, musicians), proofreader, writer, teacher, raconteur, driver/transporter, logo/poster/sign design, model, interior/exterior painting. For more information, email oasisdneon@gmail.com.

Historic Home Restoration Contractor Period appropriate additions, baths, kitchens, and remodeling. Sagging porches, straightened/leveled, wood windows restored, plaster restored, historic, molding and hardware, Vinyl/aluminum siding removed, wood siding repaired/replaced. Connecticut and New Haven Preservation Trusts. RJ Aley Building Contractor (203) 226-9933. jaley@rjaley.com.

Web Design & Art Consulting Services Startup business solutions. Creative, sleek Web design by art curator and editor for artist, design, architecture, and small-business sites. Will create and maintain any kind of website. Hosting provided.

Also low-cost in-depth artwork analysis, writing, editing services. (203) 387-4933. azothgallery@ comcast.net.

Space Artist Studio West Cove Studio and Gallery offers work space with two large Charles Brand intaglio etching presses, lithography press, and stainless-steel work station. Workshops and technical support available. Ample display area for shows.

Membership: $75 per month. 30 Elm St., West Haven. Individual Studio space also available. Call (609) 638-8501 or visit westcovestudio.org.

Studio Space Spacious three-car garage with open floor plan. Has its own heat and electricity and would make a really nice art studio. Great location in the Mt. Carmel/Hamden Center area (just off Whitney Avenue, near Eli’s Restaurant.) $495/ month, plus utilities. Call Charlie at (203) 4153393.

Policies and Rates The Arts Paper Bulletin Board Listings Policies and Rates, effective with the December 2015 issue.

Call for Artists and Volunteer listings are FREE and must be art related.

Services and Space Listings must be arts related.

Listings are limited to 350 characters (this includes spaces). All listings must be paid in advance for publication.

Classes & Workshops listings should be posted to our online calendar page and is a membership privilege.

RATES Organizations/Businesses Member organizations and businesses are entitled to three complimentary classified listings in The Arts Paper per year. Listings are also posted on the Arts Council’s website, newhavenarts.org.

Rates: $15 per listing, three listings for $30. Listings must be paid for in advance.

Artists Individual artist members are entitled to one complimentary classified listing per year.

Rates: $10 per listing, three listings for $25.

Listings must be paid for in advance.

Non-members Rates: $20 per listing, three listings for $50. Listings must be paid for in advance.

Please note that the size limitation of listings is 350 characters with spaces. The Arts Council reserves the right to edit your listing for length or content. The Arts Council provides these listings as a service to the community and is not responsible for the content or deadlines. Call for Artists/Volunteers are free and open to all arts organizations, educational institutions, and creative businesses.

To submit a Bulletin Board listing please email your listing to: communications@newhavenarts.org.

Jobs Please visit newhavenarts.org for up-to-date local employment opportunities in the arts.

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The Arts Paper march 2016

DanceMasters Weekend at Wesleyan Saturday, March 5 & Sunday, March 6 A two-day immersion in contemporary dance, featuring 10 master classes and a choreographers conversation.

Choreographers Conversation Saturday, March 5, 12-1 p.m.

Woodhead Lounge, Exley Science Center Room 184, 265 Church St., Middletown.

Free. Bring your own bag lunch. You may also pre-order a lunch for $15; lunch orders must be placed by Tuesday, March 1.

Meet four master-class teachers during a noontime conversation with choreographers Brian Brooks, Ronald K. Brown, David Dorfman, Allison Orr, and Max Pollak.

Moderated by Wesleyan University associate professor of dance Nicole Stanton.

Schedule of Master Classes Weekend Pass A weekend pass, which includes five master classes, is $75 for the general public (plus a $6 class registration fee), or $55 for Wesleyan University students.

Master Classes $19 per class; $13 per class for Wesleyan University students.

Classes are designed for students with intermediate to advanced dance experience. Master-class teachers will incorporate technique and movement combinations from their repertoire.

Saturday, March 5 10-11:30 a.m.

David Dorfman: David Dorfman Dance Bessie Schönberg Dance Studio, 247 Pine St., Middletown Samantha Speis: Urban Bush Women Cross Street Dance Studio, 160 Cross St, Middletown 12-1 p.m.

Conversation with choreographers Brian Brooks, Ronald K. Brown, David Dorfman, Allison Orr, and Max Pollak. Moderated by Nicole Stanton. Woodhead Lounge, Exley

Choreographer David Dorfman, who will be part of a panel discussion and will lead a master class during this year’s DanceMasters Weekend, leads a class during the 2015 program. Photo

by Sandy Aldieri of Perceptions Photography, courtesy of Wesleyan University CFA.

Science Center Room 184, 265 Church St., Middletown. Free.

1:30-3 p.m. *Allysen Hooks: Gallim Dance Bessie Schönberg Dance Studio, 247 Pine St., Middletown Ronald K. Brown: EVIDENCE, A Dance Company Cross Street Dance Studio, 160 Cross St., Middletown 3:30-5 p.m.

Brian Brooks: Brian Brooks Moving Company Bessie Schönberg Dance Studio, 247 Pine St., Middletown *Max Pollak: RumbaTap Cross Street Dance Studio, 160 Cross St., Middletown

MASTER OF ARTS IN ART THERAPY

Sunday, March 6 11 a.m.-12:30 p.m. *Matt Del Rosario: Pilobolus *Bessie Schönberg Dance Studio, 247 Pine St., Middletown Cassandra Trenary: American Ballet Theatre Cross Street Dance Studio, 160 Cross St., Middletown 1-2:30 p.m. *Elizabeth Coker: Sean Curran Dance Bessie Schönberg Dance Studio, 247 Pine St., Middletown Roxane D’Orleans Juste: Jose Limon Dance Cross Street Dance Studio, 160 Cross St., Middletown

*Indicates an artist’s first time leading a master class during DanceMasters Weekend.

To register for master classes: call 860-685-3355, mail, or bring a registration form to the Wesleyan University Box Office, 45 Wyllys Ave., Middletown, CT 06459. All sales are final. There are no refunds, exchanges, or cancellations.

Reservations will not be accepted without payment. A confirmation of your classes will be sent to you upon receipt of payment. Artists, dates, and program subject to change. wesleyan.edu/cfa/ dancemasters.

yale institute of sacred music presents

Information Session March 30 Aquinas Hall, Second Floor, Flach Room No. 111 2:45 p.m. - 4:00 p.m.

Natalija Mijatovic, Sneyg, 2015, Acrylic and conté on wood

magnificats old and new

Members of the Anchiskhati Church Choir from Tbilisi, Georgia perform

Exhibition curated by Jon Seals Matthew Halls guest conducts Works by Mosquera, Mijatovic, Yale Camerata, Glee Club, and Moran, Knudsen, Jensen, and Rysz Sterling Divinity Quadrangle Schola Cantorum 409 Prospect St. Woolsey Hall, New Haven

friday, march 4 8 pm

ALBERTUS MAGNUS COLLEGE Professional & Graduate Studies

800-394-9982

| We have faith in your future | albertus.edu/maat

18 • newhavenarts.org

between clock and bed

the orthodox paschal cycle

Christ Church New Haven

sunday, march 6 4 pm

march 9–june 2 weekdays 9–4

Opening reception Wednesday, March 9 · 5 pm

All events free; no tickets required. ism.yale.edu

march 2016 •

The Arts Paper member organizations & partners

Arts & Cultural Organizations 1253 Whitney 1253whitney.com ACES Educational Center for the Arts aces.k12.ct.us

Center for Independent Study cistudy.homestead.com Chestnut Hill Concerts chestnuthillconcerts.org 203-245-5736 The Choirs of Trinity Church on the Green trinitynewhaven.org

Alyla Suzuki Early Childhood Music Education alylasuzuki.com 203-239-6026

City Gallery city-gallery.org 203-782-2489

American Guild of Organists sacredmusicct.org

Civic Orchestra of New Haven civicorchestraofnewhaven.org

Another Octave CT Women’s Chorus anotheroctave.org

Classical Contemporary Ballet Theatre ccbtballettheatre.org

ARTFARM art-farm.org

Connecticut Dance Alliance ctdanceall.com

Arts Center Killingworth artscenterkillingworth.org 860-663-5593

Connecticut Gay Men’s Chorus ctgmc.org 1-800-644-cgmc

Arts for Learning Connecticut www.aflct.org

Connecticut Natural Science Illustrators ctnsi.com 203-934-0878

Artspace artspacenh.org 203-772-2709 Artsplace: Cheshire Performing & Fine Art cpfa-artsplace.org 203-272-2787

Theater Department at SCSU/ Crescent Players southernct.edu/theater

Long Wharf Theatre longwharf.org 203-787-4282

New Haven Theater Company newhaventheatercompany.com

University Glee Club of New Haven universitygleeclub.org

Access Audio-Visual Systems accessaudiovisual.com 203-287-1907

Lyman Center at SCSU www.lyman.southernct.edu

One True Palette onetruepalette.com

Vintanthromodern vintanthromodernvintage.com

Foundry Music Company www.foundrymusicco.com

Madison Art Society madisonartsociety.blogspot.com 860-399-6116

Orchestra New England orchestranewengland.org 203-777-4690

Wesleyan University Center for the Arts wesleyan.edu/cfa

Hull’s Art Supply and Framing hullsnewhaven.com 203-865-4855

Guitartown CT Productions guitartownct.com 203-430-6020

Mattatuck Museum mattatuckmuseum.org

Pantochino Productions pantochino.com

West Cove Studio & Gallery westcovestudio.com 609-638-8501

Toad’s Place toadsplace.com

Hamden Art League hamdenartleague.com 203-494-2316

Meet the Artists and Artisans meettheartistsandartisans.com 203-874-5672

Paul Mellon Arts Center choate.edu/artscenter

Hamden Arts Commission hamdenartscommission.org

Melinda Marquez Flamenco Dance Center melindamarquezfdc.org 203-361-1210

Guilford Art Center guilfordartcenter.org 203-453-5947

Hillhouse Opera Company hillhouseoperacompany.org 203-464-2683

Performing Arts Academy of CT artsinct.org Reynolds Fine Art reynoldsfineart.com Royal Scottish Country Dance Society, New Haven Branch nhrscds.org

Hugo Kauder Society hugokauder.org

Music Haven musichavenct.org 203-215-4574

Shoreline Arts Alliance shorelinearts.org 203-453-3890

Creative Concerts 203-795-3365

The Institute Library institutelibrary.org

Musical Folk musicalfolk.com

Shubert Theater shubert.com 203-562-5666

CT Folk ctfolk.com

International Festival of Arts & Ideas artidea.org

Neighborhood Music School neighborhoodmusicschool.org 203-624-5189

International Silat Federation of America & Indonesia isfnewhaven.org

New Haven Ballet newhavenballet.org 203-782-9038

DaSilva Gallery dasilva-gallery.com 203-387-2539

Bethesda Music Series bethesdanewhaven.org 203-787-2346

East Street Arts eaststreetartsnh.org 203-776-6310

Blackfriars Repertory Theatre blackfriarsrep.com

EcoWorks CT ecoworksct.org

Branford Art Center branfordartscenter.com

Elm City Dance Collective elmcitydance.org

Branford Folk Music Society folknotes.org/branfordfolk

Elm Shakespeare Company elmshakespeare.org 203-874-0801

Creative Businesses

New Haven Symphony Orchestra newhavensymphony.org 203-865-0831

Greater New Haven Community Chorus gnhcc.org 203-624-1979

Linda S. Marino Art lindasmarinoart.com

Milford Fine Arts Council milfordarts.org 203-878-6647

Ball & Socket Arts ballandsocket.org

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Firehouse 12 firehouse12.com 203-785-0468

Hopkins School hopkins.edu

Silk n’ Sounds silknsounds.org Silk Road Art Gallery silkroadartnewhaven.com

Jazz Haven jazzhaven.org

New Haven Free Public Library nhfpl.org

Susan Powell Fine Art susanpowellfineart.com 203-318-0616

Kehler Liddell Gallery 203-389-9555 kehlerliddell.com

New Haven Oratorio Choir nhoratorio.org

The Bird Nest Gallery thebirdnestsalon.com

New Haven Museum newhavenmuseum.org 203-562-4183

The Company of Writers companyofwriters.net 203-676-7133

New Haven Paint and Clay Club newhavenpaintandclayclub.org 203-288-6590

The Second Movement secondmovementseries.org

Knights of Columbus Museum kofcmuseum.org Legacy Theatre legacytheatrect.org

Whitney Arts Center 203-773-3033 Whitney Humanities Center yale.edu/whc

Department of Arts Culture & Tourism, City of New Haven cityofnewhaven.com 203-946-8378

Yale Cabaret yalecabaret.org 203-432-1566 Yale Center for British Art yale.edu/ycba Yale Institute of Sacred Music yale.edu.ism 203-432-5180 Yale Peabody Museum of Natural History peabody.yale.edu Yale Repertory Theatre yalerep.org 203-432-1234

DECD/CT Office of the Arts cultureandtourism.org 860-256-2800 Fractured Atlas fracturedatlas.org JCC of Greater New Haven jccnh.org New Haven Preservation Trust nhpt.org The Amistad Committee ctfreedomtrail.org

Yale School of Music music.yale.edu 203-432-1965

Town Green Special Services District infonewhaven.com

Yale University Art Gallery www.artgallery.yale.edu Yale University Bands yale.edu/yaleband 203-432-4111

Community Partners

Visit New Haven visitnewhaven.com Westville Village Renaissance Alliance westvillect.org

newhavenarts.org • 19

The Arts Paper arts council programs

Perspectives …

The Gallery at Whitney Center Location: 200 Leeder Hill Drive, South Entrance, Hamden Hours: Tuesdays and Thursdays, 4-7 p.m., and Saturdays, 1-4 p.m.

Traduzindo Cor Curated by Debbie Hesse and José Monteiro Artists from Cape Verde and New Haven present work that, using colors, patterns, and textures, represents a universal language.

Dates: On view through April 29

Sumner McKnight Crosby Jr. Gallery Location: The Arts Council of Greater New Haven, 70 Audubon St., 2nd Floor, New Haven Hours: Monday-Friday, 9 a.m.-5 p.m.

Family Reunion: Psyche, Spirit, and Humanness Curated by Matt Reiniger and Debbie Hesse Dates: March 11-April 29 Opening reception: March 10, 5-7 p.m., free and open to the public.

Advice from the AC Need help finding exhibition space/opportunities, performance/rehearsal space or developing new ways to promote your work or creative event? Schedule a free one-on-one consultation with Debbie Hesse, the organization’s director of artist services and programs by calling (203) 772-2788.

Dates: March advice sessions will take place at the New Haven Free Public Library, 133 Elm St., on Thursdays, March 3 & March 10, 1-4 p.m.

Yolanda Coggins channels Billie Holiday during the opening reception for Jazz: An Exhibition of Poetry, Prints, and Photography at the Sumner McKnight Crosby Jr. Gallery. Photo by Lisa Russo.

Arts ON AIR Listen to the Arts Council’s Arts ON AIR broadcast every third Monday of the month during WPKN’s Community Programming Hour. Hosted by the Arts Council’s communications manager, Arts ON AIR engages in conversations with local artists and arts organizations.

Links to past episodes are available on our blog at artnhv.com/on-air.

Writers Circle

Sumner McKnight Crosby Jr. Gallery. Family Reunion: Psyche, Spirit, and Humanness. Iosif Zlatnikov in his home studio.

Join us for our March Writers Circle: “Lunch and Learn with Lucy Gellman.” This lunchtime session will feature Lucy Gellman, reporter for the New Haven Independent and station manager/host of Kitchen Sync on WNHH Radio. Lucy will discuss her journey from being the Florence B. Selden Fellow in the Yale University Art Gallery’s Department of Prints and Drawings and part-time arts writer for the New Haven Independent to serving as station manager at WNHH and beyond. Lunch will be served for a small fee. Reservations required. Please visit newhavenarts.org and the Arts Council’s social-media pages for information about the Writers Circle and to RSVP for the March Lunch and Learn. To be added to the Writers Circle email list, please send an email to communications@newhavenarts.org.

Date: Wednesday, March 16, 12–2 p.m.

Location: The Arts Council, 70 Audubon St., Second Floor, New Haven.

Photo Arts Collective The Photo Arts Collective is an Arts Council program that aims to cultivate and support a community of individuals who share an interest in photography, through workshops, lectures, exhibitions, portfolio reviews, group critiques, and events. The Photo Arts Collective meets the first Thursday of the month at the Kehler Liddell Gallery, 873 Whitney Ave., New Haven, at 7 p.m. To learn more, send email to photoartscollective@gmail.com.

Perspectives... The Gallery at Whitney Center. Traduzindo Cor. Jo Velhinho (above), John Arabolos (right).

For more information on these events and more visit newhavenarts.org or check out our mobile events calendar using the Arts, Nightlife, Dining & Information (ANDI) app for smartphones.