January 17, 2017
The winners of this giveaway from Sundance Film Festival are:
Maria R. (SLC), Melissa R. (North Salt Lake), and Genevieve (Taylorsville)
Stay tuned for our next ZAP Ticket Tuesday!
Popular Salt Lake County ZAP (Zoo, Arts and Parks) Program accepts grant applications from arts & cultural organizations
January 13, 2017
The Bboy Federation is currently funded in ZAP Tier II.
SALT LAKE COUNTY, UT – Salt Lake County Zoo, Arts and Parks (ZAP) is now accepting grant applications from qualifying organizations for 2017 Tier II funding. ZAP Tier II is a grant-making program that currently partially funds 153 arts and cultural organizations.
The grants ZAP distributes come from sales tax. One penny of every 10 dollars spent in Salt Lake County is set aside for this cause.
The ZAP Program first began in 1997 and was renewed in 2014 by the majority of Salt Lake County voters – a whopping 76.98%.
Applications can be found on ZAP’s website.
Tier II applications are due March 31, 2017 at 3:00 P.M.
- ZAP was recently renewed by nearly 77% of Salt Lake County voters and is now accepting grant applications.
- 175 arts and cultural organizations and over 30 parks and recreation facilities are partially funded by ZAP (Tier I, Tier II, Zoological and Recreation).
- Tier II = nonprofit or municipal arts, cultural and botanical organizations with budgets less than $354,000. This group also includes organizations that are new to ZAP. These applications are due March 31, 2017.
The Utah Cultural Celebration Center is currently funded in ZAP Tier II.
SALT LAKE COUNTY, UT – El programa de Zoologicos, Artes y Parques de Salt Lake (ZAP) esta aceptando aplicaciones de organizaciones que califican en el año 2017 en el nivel de Becas II este es un programa que otorga becas parciales para 153 organizaciones culturales y de artes.
Las becas ZAP se originan en los impuestos de ventas. 1 centavo de cada 10 dolares gastados en el condado de Salt Lakese utiliza para esta causa.
El programa ZAP empezo en 1997 y se renovo en 2014 por la mayoria votante de Salt Lake County- un sorprendente 76.98%.
Las aplicaciones se pueden encontrar en el sitio ZAP.
La fecha de cierre para convocatorias es Marzo 31, 2017 a las 3:00 P.M.
- ZAP fue recientemente renovado por casi 77% de los votantes de el condado de Salt Lake County y estamos aceptando aplicaciones.
- 175 de las organizaciones culturales y artisticas y mas de 30 parques y facilidades de recreacion son parcialmente fundadas por ZAP (Nivel I, Nivel II, Zoologicas y de Recreacion).
- Nivel II = Organizaciones de artes, culturales y botanicas y sin fines de lucro con presupuestos de menos de $354,000. Este grupo tambien incluye organizaciones nuevas a ZAP. Estas aplicaciones cierran em 31 de marzo, 2017.
January 10, 2017
A winner has been chosen for this Ticket Tuesday giveaway from Utah Children's Theatre. Stay tuned for more giveaways!
January 03, 2017
2 winners have been chosen for this ZAP Ticket Tuesday to THE COMEDY OF ERRORS, presented by the Grand Theatre.
Stay tuned for more giveaways!
December 27, 2016
2 winners have been chosen for this Ticket Tuesday giveaway from The Empress Theatre. Stay tuned for more chances to win free tickets to your favorite zoo, arts, & parks happenings around the county!
December 20, 2016
December 14, 2016
a preview of an UMFA ACME session by loveDANCEmore and conversation with Srilatha Singh
Utah’s schools are rich with dance.
By national comparison, Utah students have more enriching dance experiences than perhaps any other state. Thanks to ZAP-funded organizations, most K-6 students have the opportunity to view concerts and many move weekly to choreograph year-end performances. Secondary students work with seasoned educators and attend high-level workshops. As a result, and as with all subjects, dance has curricular standards to ensure a rigorous experience.
These standards are written in such a way that honors Utah’s concert dance tradition (think: RDT, Ririe Woodbury, Ballet West, and Tanner Dance) but makes lesser mention of cultural forms, suggesting that knowing about a folk dance or two is sufficient.
As part of loveDANCEmore, the community arm of my non-profit “ashley anderson dances,” I have avoided creating educational outreach for risk of diluting the rich offerings by the companies above. But I’ve also considered my own lack of cultural dance knowledge alongside troubling requests from teachers to “make” dances from YouTube footage and secondhand history.
Ashley Anderson performing at Hollins University photographed by Christy Pessagno.
To combat this divide: loveDANCEmore is working with UMFA on a dance-centered ACME workshop at the Marmalade Library on January 11th. ACME workshops are hosted by UMFA during renovations to consider the relationship of art, community, museum and education and the dance mashup pairs concert dance educators with cultural dance practitioners as they create opportunities for a public audience to move ideas from both dance genres.
One participant is Srilatha Singh, founder of Chitrakaavya dance which shares Bharatanatyam, a classical Indian form known for percussive and precise gesture. Singh trained primarily in the Kalakshetra style in Chennai and Delhi, India but over the years has found influence in other styles. For the past seven years, she has performed solo and group works in Salt Lake venues including the Fringe Festival at Westminster College. Prior to that she took a break from her classical training, getting two Master’s Degrees and her PhD in Mathematics from the University of Michigan. Most recently she performed a collaboration with modern dancers at Kingsbury Hall to open the tour of Ragamala.
Srilatha Singh in performance, photograph courtesy of the ChitraKaavya website.
In Utah, the audience from Bharatanatyam concerts is from the Indian diaspora, or aficionados of Indian or ethnic dance. Singh suggests that a general “lack of understanding of the language, dance vocabulary or cultural context” is why the form lacks a broad local audience. Her company has tried to connect in informal ways, demonstrating how Bharatanatyam can be interpreted.
Singh thinks that Bharatanatyam has much
in common with current K-12 dance instruction saying that “the technique, and
discipline, of the form is similar to what ballet and modern companies bring
forth...with an aesthetic experience as deeply satisfying for both performers
and audience.” She also knows that it could be co-curricular as the rhythms
embedded in the practice teach math concepts like addition, multiplication and
least common multiples; science concepts states of matter and even poetry, as
Bharatanatyam is often linked to metered, narrative texts.
For the dance mashup, Singh will be paired with Ai Fujii Nelson of Ririe Woodbury Dance Company (RW) looking at how Bharatanatyam can link with RW’s approach of time, space and energy, as the elements of dance. Other pairings include Repertory Dance Theater and Tablado Flamenco, Tanner Dance and Gwynn Smith of the Navajo nation.
Ashley Anderson is a choreographer based in Salt Lake City and recipient of the 2014 Mayor’s Artist Award in the Performing Arts. Her recent choreography has been presented locally by the Rio Gallery, the BYU Museum of Art, the City Library, and the Utah Heritage Foundation as well as national venues: DraftWork at Danspace Project, BodyBlend at Dixon Place, Performance Mix at Joyce SOHO (NY); Crane Arts Gallery, the Arts Bank (PA); and the Taubman Museum of Art (VA), among others. Teaching includes: the American Dance Festival, Hollins University, the University of Utah, Dickinson College Dance Theater Group, University of the Arts Continuing Studies, Westminster College, the Virginia Tanner Dance Program and many high schools and community centers. Ashley currently directs loveDANCEmore community dance events using the resources of ashley anderson dances, a registered 501(c)3. Her projects with loveDANCEmore are also shared in Utah’s visual art magazine, 15 BYTES, where she serves as the dance editor. ashleyandersondances.com
December 13, 2016
In the year 2017, 22 arts and culture organizations will be funded in Tier I —the largest funding category in Salt Lake County’s Zoo, Arts and Parks (ZAP) Program.
ZAP will also fund three organizations in its Zoological category: Utah’s Hogle Zoo, Tracy Aviary and The Loveland Living Planet Aquarium.
ZAP is a grant-making program that partially funds over 170 arts and cultural organizations. It also supports over 30 parks and recreation facilities.
These organizations enhance Salt Lake County resident and visitor experiences. Mayor Ben McAdams says,
“County residents and their families value the opportunity to participate in arts and cultural events and how they enrich their lives. With their strong support of our Zoo, Arts and Parks program, we’ll continue to be a place where audiences, performers, artists and volunteers come together with impressive results and memorable experiences.”
In the past year, Tier I and Zoological organizations spent more than $77.3 million in Salt Lake County and offered over 1.2 million free admissions.
Directed by state statute and county policies, ZAP’s Tier I category can fund up to 22 organizations whose qualifying expenditures are over $335,700. The Tier I Advisory Board is committed to a fair process that decides which organizations will receive Tier I funding. Victoria Bourns, ZAP Program Director, stated:
“Our advisory board spends many hours reading applications, conducting site visits and discussing the strengths and challenges that each organization faces. They work diligently to provide recommendations to the Salt Lake County Council. Salt Lake County is dedicated to assisting these organizations, and the ZAP Program believes each organization that applies for Tier I funding is worthy of public support.”
Organizations that don’t receive funding in Tier I are eligible to receive funding in ZAP’s Tier II category.
The grants ZAP distributes come from sales tax. One penny of every 10 dollars spent in Salt Lake County is set aside for this cause. ZAP was renewed by nearly 77% of Salt Lake County voters in 2014.
Funded Tier I Organizations:
- Art Access
- Ballet West
- Discovery Gateway
- Hale Centre Theatre
- Natural History Museum of Utah
- Pioneer Theatre Company
- Red Butte Garden
- Repertory Dance Theatre
- Ririe-Woodbury Dance Company
- Salt Lake Acting Company
- Salt Lake Arts Council
- Salt Lake Film Society
- Spy Hop
- Tanner Dance
- Utah Arts Festival
- Utah Film Center
- Preservation Utah (formerly Utah Heritage Foundation)
- Utah Humanities
- Utah Museum of Contemporary Art
- Utah Museum of Fine Art
- Utah Symphony | Utah Opera
Funded Zoological Organizations:
- Utah’s Hogle Zoo
- Loveland Living Planet Aquarium
- Tracy Aviary
Check out The Salt Lake Tribune's article.
December 13, 2016
Winners have been chosen for this giveaway from Salt Lake Symphony. Stay tuned for future Ticket Tuesdays!
December 07, 2016
Wasatch Theatre Company is approaching its twentieth season, and it gives me pause to reflect on the journey we have been on since our inception in 1997.
Lots has changed since our first production of The Dining Room at the Jewett Center for the Performing Arts Lobby on the Westminster Campus. For one, our expectations have changed drastically. There’s a difference between being a 22-year old just out of college and loving to act and direct and being a 42-year old parent and elementary school principal. I still love to act and direct but my time doesn’t allow for these things as freely as it did twenty years ago.
Most importantly, my outlook has changed. I recently picked up The Dining Room and read it again. We are in the midst of planning for our twentieth season and have considered going back to the original production—A.R. Gurney’s classic that started it all for us.
The script seems so different to me now, and I am left wondering, “Why did we choose this piece in the first place?” It could well have been that it happened to be available. Something we were familiar with. It had a small cast and required little to no set. And we liked it. These were often the only prerequisites.
Now we consider different things when choosing a show. We think about its marketability. We also think about its produce-ability given our limited resources. At the same time, we try to choose scripts that allow us to do something different than we have done previously—pieces that push us to try something artistically and technically fresh, at least for Wasatch. I think we have achieved this with almost every show we’ve produced—we’ve attempted to dabble in new territory. When we first produced The Dining Room, we were just attempting to put something out there and to establish our mark. Now, after 20 years, we have a mark and attempt, with every next show, to push the limits of what we have done and are capable of doing.
This is challenging, I won’t lie. Most of the board of directors, which has grown to five members after being just three for several years, possess full-time jobs outside of theatre. This means that the ways we push ourselves as artists are confined by the most tricky resource of all—time. I still love to act and direct but also love my family and my job. Yet, I think this is probably a testament to our love and dedication—that we have found a way to make this theatre thing happen for twenty years in spite of limited time.
In the last few years, our vision has also grown. We now produce shows that meddle in relationships and the power that these relationships have over our life choices.
This is appropriate for a company that has depended on the relationships forged by “doing” theatre together. Friendships have ignited and developed against the backdrop of Wasatch Theatre Company. Probably any group can say this. However, I think it is the single most influential factor in keeping Wasatch together for so many years. Without the relationships, we would not have had the ability, or the will, to keep things running, year after year, season after season.
And now, we are working hard to find just the right shows for our twentieth season. Do we dip our toes back into past projects? I mentioned earlier that we try to stretch ourselves with every new project. I don’t think repeating productions is in violation of this. Again, when I read The Dining Room as a 42-year old man, now with a family and a whole lot of life experience, I see it very differently than I did two decades ago. The production, if we were to do it again, would be a definite evolution.
But this may not be our next step. We are very much in conversation about how we want to highlight twenty years of Wasatch that is entertaining to patrons and still challenging and satisfying artistically for all of us.
In the meantime, we close out our 19th season with the regional premiere of Moira Buffini’s Dinner. A piece out of England, Dinner is probably the most difficult piece I have ever seen Wasatch do. The story is compelling and is completely about the power, and the loss of power, that sometimes (sadly) defines our relationships. And how individuals react when faced with these power differentials. And it is a thriller! As the projected director of this project, I am in the midst of research, trying to understand for example, why Buffini chose to write her piece in a sort of verse with little end punctuation. I think audiences will love Dinner, and we will be better as artists because of it.
I am thankful for Wasatch Theatre Company. I am thankful for the past 20 years of maturing right along with the company. Like a Scrooge character in The Christmas Carol, it would be interesting to be able to see my life without the presence of Wasatch. I often wonder who I would associate with and what my life would be like if Wasatch never were. I can’t help but believe that it would be much less rich and blessed.Jim Martin is the Executive Producer of Wasatch Theatre Company and co-found it with friends 20 years ago. He is an elementary school principal in the Salt Lake City School District and recently adopted a son named Jayden, who is now 12 years old.