Grantees MAP Open Apps

Read the Nov. 24th MAP Online Chat transcript

Kelly at MAP: Welcome!  If you have questions about MAP, feel free to jump in and ask.
Anna: Hello, I am interested in applying for a project that is in the very beginning stages, and I don't yet know where it will be produced. Will this affect the chances of receiving the grant?
Kelly at MAP: Hi Anna! – No it will not, MAP seeks to fund projects at all stages up to the premiere, but there is not requirement of a premiere. You can certainly apply for just the early development of a project.
Anna: That's great to know, thanks
Kelly at MAP: Any other questions out there?
Danny: Hi, MAP folks!  Would map consider funding a translation of a work into another language?  In this case, the translation of a piece of theatre that is typically performed in spoken language to be performed by Deaf/signing actors into American Sign Language?
Kelly at MAP: Hi Danny- that doesn't sound like it would be MAP eligible, as it we don't consider a translation to be a new work.
Merry: The guidelines in the application specifically say this round of MAP grants is interested in funding projects in the earlier stages of development. Could you clarify what defines the earlier stages of development, particularly in a performance work?

Kelly at MAP : Hi Merry: MAP will fund projects at any stage from conception up to the premiere production.  So, if you have an idea that you are in the research stages with, that would be fine to apply with...but it would also be fine to apply with something that you are ready to produce.
Wendy: I'd like to know if there is a suggested percentage of the total project cost that we should ask for...the application guidelines say that MAP does not fund 100% of any project.
Kelly at MAP: Wendy: 25-30% of your total project budget is what we recommend.
b52: Hello All! I have two questions. Is there a requested waiting period after you have been declined? And should there be a re-application, is it possible to reapply for the same project that has been postponed from 2009 to 2010?
Denise at MAP: b52: There is no requested waiting period after being declined and it is possible to reapply for the same project.
Efin: How many people are on the panel and how do they get chosen?
Kelly at MAP: Efin:  We have 4 panels - theater, dance, interdisciplinary and music.  each has 3-5 panelists, depending on the number of applications that are up for review.
Merry: Thanks Kelly - another question: Is it feasible to apply as a lead artist in a project if one is a student (graduate) at the time of application, but will finish their studies by the time the granting period would begin?
Kelly at MAP: Merry: No, unfortunately MAP does not allow currently enrolled students to apply.  If you are enrolled at the time of application, you are not eligible to apply.
Danny: Since you're willing to fund projects in the early stage of development - and, you don't require that a premiere be the 'end goal' do you have goals in mind for the development and research phases of work?  Are there "end products" that you have in mind for such projects that won't result in a premiere?
Kelly at MAP: Danny:  We allow the artist/applicant to define the goals of the project.  So no, there aren't any specific goals - we look to you to be doing what you are describing in your project description and timeline.
Anna: Does the other sources of your funding (and whether or not they are pending or guaranteed) have any bearing on the application?
Kelly at MAP: Anna: we hope that you are looking for other sources of funding, as MAP cannot fund 100% of a project budget.  Your budget should show that you are looking in other places to make up the difference. Having secured money can make your project seem more viable.
Ayanna : I'm assuming that MAP funds international performance as well as national?
Kelly at MAP: Ayanna: MAP only funds organizations based in the United States, but Lead Artists can be from anywhere.
M: If we commission an original script, does the playwright count as a "work for hire" artisan, therefore disqualifying him or her as a Lead Artist?

Moira at MAP: M: Playwrights are generative artists and therefore should be listed as a Lead.
Ayanna: Also is there a minimum operating budget that an organization should have to apply?
Kelly at MAP: Ayanna: No there is no minimum budget.  
Jen: I believe I read that you fund 40 projects per year - how many applications do you generally get that are turned down?
Denise at MAP: Jen: We received about 600 applications last year
M: Do most applications have more than one lead artist? I'm thinking our playwright AND director both need to be lead artists since the project can't exist without either one of them.
Moira at MAP: M: The number of lead artists varies. It really depends on the work. If you're commissioning a play, the application would be ineligible if you didn't list the playwright as a lead artist. The director is optional...but often a good idea, if you have good work samples.
Efin: Is there a maximum budget?
Kelly at MAP: Efin: No there is not a maximum.
Merry: Can part-time students apply as lead artists or as part of an ensemble?
Kelly at MAP: Merry: No, unfortunately, enrolled students cannot apply.
Srinear: Any answer to how much an artist/playwright should figure on giving the sponsoring organization or is that supposed to be figured into the proposed budget?
Kelly at MAP: Srinear: We don't put requirements on what an artist pays their fiscal sponsor.  You'll have to determine that relationship directly with them.
Wendy: If we ask for funding for a concert, does the entire concert repertoire need to be new, or can the funding be targeted only to one or two new works on the program?
Moira at MAP: Wendy: you're really going to seek support from MAP for the commission of the new works. We could not fund a "concert"
Julia: Is a Peter Sellars-style production eligible for MAP Funding? The orchestral work on which the production is based is old, but the production is a completely new, multi-disciplinary work. The lead artist is a filmmaker and is creating a film, directing the staging, collaborating with artists from other media, etc. The film is an equal player with the orchestral piece, but it doesn't change the fact that orchestral piece is not new.
Kelly at MAP: Julia: Can you tell me more, is this a new work? Or a re-mounting of a previously produced work?
Julia: It's a new work.
Kelly at MAP: Julia- If the only new element is a film, than it doesn't sound eligible.  Moira, can you weigh in on this?
Julia: It's the film, but it's also a full-blown theatrical staging around the music. I guess the closest example would be Peter Sellars and Bill Viola's Tristan project, where they took the Wagner and added visual elements, theatrical elements, etc.
Moira at MAP: Julia: Yes, Kelly at MAP's right. if the orchestral work is an even partner with the other elements, in other words, if the other works are inspired by and in conversation with the music, then the work would usually not be considered eligible.
Moira at MAP: Julia: What piece of music are we talking about? We wouldn't, for example, have been able to fund the Sellars’ Tristan.
Julia: Okay. That makes sense. Thanks for the clarification.
Anna: Can you talk about the distinction between a collaborator, and a lead artist on a project?
Kelly at MAP: Anna: A collaborator could be a lead artist.  a lead artist is someone who is a generative artist on a work and is not simply a work-for-hire artist on a work.  A Lead Artist is directly involved in the creation and development of the work and is part of the collaborative team.
Divins: Could you talk about ensemble companies and their guidelines. We have a program which allows dancers to choreograph their own works and we pick three to present. Could we call our whole company an ensemble for the application or each of the three as lead artists?
Moira at MAP: Divins: First I should say that such a program is not typically funded by MAP. The works we tend to fund are typically strongly led by one artist who has a vision she/he is trying to fulfill.  If you wanted to proceed with such an application, my advice would be to choose the strongest of the three of your choreographers and apply to MAP to commission just that work. That would be more focused and more in line with what we do. If you did that, you would probably list the company as one lead ensemble and the choreographer as a second individual lead artist.
Matthew: Hello. How important is the touring of a project after the creation and premiere? Is there a specific idea of continuation, an idea of the "what happens down the line" phase of this specific project to keep in mind?
Kelly at MAP: Matthew: Not really important, since MAP doesn't fund touring.  However, we hope that projects we fund have a large impact and are seen by lots of audiences, so if you have a touring plan, you could include it in your timeline.  But your proposal should focus on the development and/or premiere presentation of the work.
M: Our project is multidisciplinary (theatre, hula, Scottish and Hawaiian music), and the performance of the original work is the central piece of a much larger project that will continue after the premiere is produced. Should our budget for this grant cover just the premiere of the work, or would the panel want to know about the entire project?
Moira at MAP: M: You can give us the whole budget, but be very clear about which elements of it are performance related, and which you are seeking support for. And remember that we won't fund 100% of the PERFORMANCE part of that budget, so your ask amount is probably going to be a very small percentage of the overall budget in the end.
Jen: I am not clear on the student issue - Are universities allowed to apply for funds for collaborative efforts with other institutions?
Moira at MAP: Jen: Universities are eligible, but they are seeking support for professional artists -- either faculty or artists in residence. We do not fund students.
Jen: But can students still be involved in the production?
Moira at MAP: Jen: Yes, it's just that the lead artists cannot themselves be students.
Jen: Gotcha - that answers my question perfectly.
Divins: if a piece has been presented once, in short form, and they then expand it within your timeline, would you consider it new?
Moira at MAP: Divins: This is really a case-by-case thing, sometimes an artist will do a small section of the work early, to experiment, and maybe do a workshop showing of it.
Moira at MAP: Divins: If that artist then wants to take the work further, that would be eligible. But if the work really had a major premiere and it's being lengthened, that would be a harder sell.
Divins: Ok that is exactly what has happened. Thank you.
Srinear: Ah, so Universities can be sponsoring organizations for performance? I was confused with the student involvement, but now I see they can be involved in the performance.
Kelly at MAP: Srinear: Yes.
Moira at MAP: Srinear: Typical example: Joe Goode comes to USF to make a work about social networking. He'll also teach a little. HIS COMPANY premiere's the work at USF and the students tech it or ... dance small roles...
Srinear: Great. Thanks, Moira at MAP.
Jen: Does this example work?  - Professors at a university collaborate with a local opera company to put on a children's opera - university students may have parts in the opera and may do other ancillary work but the focus is on the children and the collaboration wtih the local opera company.
Moira at MAP: Jen: This would all depend on who the composer is.
Moira at MAP: Jen: The composer would be considered the central lead artist of a new opera and that person would have to be a professional, working composer.
Jen:The composer is a commissioned artist outside of both the university and opera company
Moira at MAP: Jen: Sounds good. Best to frame the application around him.
MusicFest: The guidelines state that MAP does not fund festivals or contests.  We are a Music Festival but in many ways we don't fall under a more traditional definition of a festival.  We have an annual festival of music in multiple venues and also do programs throughout the year.  We have been commissioning new work, including multidisciplinary work, for 6 years now.  Would we still be ineligible?
Kelly at MAP: Musicfest - We can fund a commission of a new work, but not the festival itself.
MusicFest: By "not the festival itself" that would include concerts?  So MAP would fund just the commission fee or artist fee?
Kelly at MAP: Musicfest: MAP would fund the artist/commission fee and costs associated with the development/rehearsal of the work and the premiere presentation.
Divins: If you don't know that the project will premiere what do you put on the application premiere month and year?
Kelly at MAP: Divins: Estimate when you think it might premiere. If you are only applying for development, be sure to clearly state that in your project description

M: Since the grant activities period starts Sept. 1, 2009, I'm assuming that any research costs incurred before then would not be eligible for funding from this grant. But should we put them in the overall project budget?
Moira at MAP: M: Yes.
M: Do you have any advice on what makes a work sample stick out above and beyond the others (beyond what you've already listed on the website)?
Moira at MAP: M: It's not so much about sticking out beyond the rest...but just not making mistakes that will make the panel unable to really take in the work. For example, if the sample cue starts in blackness and gradually comes into activity -- the panel just can't appreciate that in video the way they might if they were in the theater. This is very common. the struggle is to find a five minute section of your work that ALMOST could stand on its own. We realize how hard that is, but that's the general guideline.  No one will be able to create that exactly, but you want to think in that direction. We suggest showing the clip to someone who has no context for it, never saw the full work...does it capture their attention? If yes, that's your sample. If no, look around some more. And i should say, it only needs to capture their attention for about two minutes. Not the whole five. two minutes of compelling work is enough to get the panel conversation going, and then you are a contender. Which is not to say they won't watch all five, but if the first two are compelling, they'll be hooked.
Anna: And you only want excerpts, correct? Should the full work  also be submitted?
Kelly at MAP: Anna: Yes, we ask for a 10 minute excerpt and the full work (preferably on the same DVD). You could also do 2 5-minute excerpts, but it's best not to go any shorter than 5 minutes for video.
Anna: If i am submitting two 5 minute excerpts, can they be on different DVDs?
Kelly at MAP: Anna: Yes but we do prefer them to be on one.
Srinear: And it's writing samples for written works, right?
Kelly at MAP: Srinear: if you are a playwright or librettist, yes.

Juliette Carrillo
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