If you’re new to grant writing, it might seem that getting a grant is like trying to join a secret club. “It’s hard to get your first grant,” admits Charles Slender-White, artistic director of FACT/SF, a contemporary dance company that also funds the work of other dance artists.
Isadora Duncan once famously claimed that if she could tell you what she meant, there would be no point in dancing it. That attitude—that dancers should be seen and not heard—continues to pervade the concert dance scene
The college dance scene can be a great resource for early-career choreographers looking to dip their toes into teaching or make new work on students, as it usually comes with a flexible schedule and considerable artistic freedom.
What if trading a larger, more dance-saturated city like New York or Los Angeles in favor of a smaller one allowed you access to better funding, more choreographic opportunities and quicker name recognition—not to mention a lower cost of living?
As dance companies continue the necessary and arduous process of determining what (and where) racial biases exist within their organizations, the idea of an open-door communication policy has become a popular one to implement and tout as a point of pride.
Dance artists put in painstaking hours of work applying for grants. But all too often, their efforts are derailed by mistakes that could have been fixed in mere minutes. Since the panelists who decide what gets funded often have to read more than 100 applications, yours needs to be as clear and error-free as possible. […]
DIY grant-writing advice for your next project Grant writing can be both intimidating and empowering, tiresome and exhilarating, especially if you are new to the process. I found this true when I started my first grant proposal 15 years ago for Richmond-based Ground Zero Dance, and it’s still true for me today. Yet grants are […]