National Theater Project Creation & Touring Grant 2020 Informational Webinar
Joining, us. But. I think it'll be good, to just start, now, so. Welcome to everyone. This. Is the national theater project creation and Tory and grant info, session, thank you for joining us. Can, you all hear me. Yes. Yes. So, first off let me just introduce the, NTP, team, so that's the National Theatre Project team on the. Call today is myself. Mina Malek I'm the program manager for. Theatres at the Newman's Own foundation for, the Arts and, we also have Derek. Yeah. Hi I'm Derek, Schwartz I use he/him/his pronouns and. I'm the program associate, first aider and abettor. Thank. You, my. Pronouns are she her, hers, and. Another. Person, a key, member in our team that is not on the call today is Keita Sullivan, who's the director a program. Director of theater, here. At nifA. So. A couple housekeeping things. Before we move on. We. Will be taking, some questions. At. The end of, the webinar but if, you, have some burning questions that you don't want to forget there's, also a chat box option. If. You just kind of hover. On your screen on the, bottom there, is a little, icon. That says chat, so. If you click on that you can send a question, to us and. We'll be monitoring it throughout, the webinar, so, I may or Derek, may respond to that as we go if it seems relevant if not we may leave it to the very end and respond, to all of them so we'll see how that goes um. Just. So, you all know we are recording this webinar um. So. That we can send you the link afterwards. So. You can rewatch, it you can also send it to your ensemble. Members your colleagues. So. Keep. That in mind, also, because, we're recording it we. Are muting everyone. So. That you can hear our voices better and get, all the information that you need at. The end when we take questions you can unmute yourselves. And we, can actually have conversation. But, for. The main. Part of the webinar it will be great if you could keep yourself muted we may do that on our end as well. So. Let's move to the next slide. So, today we will be covering who. Is Meeta. Overview, of the National Theatre Project, what, does the creation touring grant support, FIFA's. Equity. Diversity, inclusion and accessibility statement. A criteria. What. Is a development, partner, timeline. NTP. Advisors. Application. Process, and, FAQ. Narrative. Question, overview, video. Samples, and then we'll move into questions. Next. So. For those of you who aren't familiar with, NEPA and EFA's is a, regional arts organization, and a service, organization, that also acts as a funder, and even, though we are called New England foundation, for the Arts the National Theater project is a national program the, national dance project is also a national program, so. Even. Though we're based in New England there, is nothing specific to New England about, this program, in particular, mrs.. Mission, statement is what you're reading here so NEPA investment artists and communities, and fosters equitable, access to the arts enriching. The cultural landscape, in New England and the nation NEPA. Accomplishes, this by granting, funds to artists and cultural organizations. Connecting. Them to each other and their audiences, and analyzing. The economic contributions. Meet, bussers as a regional partner for the new National. Endowment for the Arts New, England state arts agencies, and private foundations. So. Today we are here to talk about the National Theatre Project which is a national, program. NTP. Promotes, the development of, artists, led Ensemble, and devise theatre work and also extends, the reach and life of these projects, through touring, and our, lead funding, comes from the Andrew W mellon, Foundation and now, we receive, additional support, from the Doris Duke Charitable Foundation and. This. Additional funding really means a lot to us because it, has allowed us to extend our reach so. We used to support six grants we moved on to eight grants, and this year we are able to support ten grants so we're really excited about that next. Like. When. You're filling out the application, you will see. That. We, have, some definitions, of what devised, an ensemble, means to us and. This was a co-created. Definition. By our advisors. R12 advisors and panelists, so you. Can find us on the website as well but let me read it to you so devised. Is a process of co-creation, and joint discovery, that prioritizes. Generative. Artists, which, may include but does not prioritize, playwrights, is iterative. Results, in original, work and. Ensemble. Is a group, of two or more people, committed. To working together over time to develop a distinct, practice, and body, of work. Next. Slide. So. Ntp. Was created, in 2010. To explore, if the, national dance model, could support device and ensemble, theater so, national dance project is our. Sibling. Program. At nifA and it's been going on for much longer than us so, we kind of learned from each other.
Projects, Vary greatly in timelines scale, touring. Interests. Oh, and. Also you should know that we are coming up to on. Our 10 year anniversary this, year which is really exciting, for us. Um. Let's, see grants. For creation, and touring, arranges. Between 80,000. To 130,000. Dollars which. Is split between creation, grants, and presentation. Grants giving, two presenters to support artist fees as designated. By the artist, and. This is really important, to note that the, presentation, grant funds are controlled. By artists. Artists. Allocate, the money so, this is intended, to counteract, the power imbalance, that sometimes, exists, between artists, and presenters. We. Also have. The. Finalist, development, grant or a handful, of finalists. Who do not receive, full creation. And touring grant and. These are smaller grants, that. The. Advisers may identify. Little. Supports, that these projects. Can receive, to really enhance their, project, whether. They apply, for a grant again, or. Not doesn't, really matter so in, the past we've supported. And, work-in-progress showings. For. Projects to improve their, work. Samples, we, have also supported them, to purchase, set, pieces. Like a truck, so. That's how we use that support. A. Cohort, meeting. Between. Grantees. And advisors is part. Of our support at NTP, and. We have heard that aside. From the money which is always great to receive the, cohort meetings have been extremely, valuable or, the. Artists, because this is too full days for them to just discuss, about their projects. And their. Specific needs that, they have and also cultivate. Authentic, relationships. With our 12 advisers. We. Also have, travel. Grants for presenters, to see supported. Work. So. These are, for. Presenters to apply to see the projects, that we are supporting, in order, to decide, whether they would like to present them work in. Particular, the. Types of works that we support, are. Not. Super. Typical, or you could be really out of the box and it's really hard to. You. Know figure out whether that will fit into the, presenters, space, or their. Usual. Projects. That they present so, it really helps o them to actually see the project so this is how we support. Presenters. To come see your work we. Cover 70%. Of the travel costs, and. We. Have also used. This, fund to support artists, to go. For a site visit to, space. That they're planning. To present at as well. As bringing, culturally. Competent critics, critics to, their performances. So. The grant that we're all here to talk about today is the creation and touring grant so, to give a broad overview of, the grant and we'll go into all this information, later but, as. Mina said we're really excited to be presenting ten-ten, creation and touring grants this year which is up from 8:00 last year these. Grants are made to us-based theatre ensembles, and individual, theatre artists, with identified, collaborators. And the. Definition. Of what is ensemble, really comes back to that language that we, use at the beginning and, there. Are. Solo. Performers, who, are able to apply for this grant through. Their collaborations. And to make a side it is ensemble, work all. Projects, must have one committed development, partner relationship, and we're going to talk about what, development partners are later the.
Grants. Range from 80,000, to 130,000. Dollars which are split into creation funds and touring and, the, projects, must allocate the touring funds among tour sites within two years of receiving, the grant and, we. Put in that deadline we also understand, that things happen, and we work with people and they can't hit that deadline, because. It. Is an unpredictable world. So. Like. I said the funding is divided, into two sections. There's, the creation, funds and the Torn a funds, we. Work with the artist to figure, out how, to split that money up it's typically. Around, 30. To 80 thousand. For creation. And the rest will go towards. Taurine. That. First portion, the creation portion, is distributed. Directly to the artists that support the creation and development of the work and that money. Is, that, you can, we. Don't have a lot of limitations on how you can use that money so it's really up to you to use that money to develop the work as you see fit. The. Remaining grant, amount of set aside as artists, directed, allocations, distributed, to presenters, these, funds can support up to 50% of, the artists fee for any given, engagement. The, tour funds are paid directly to presenters, through, the, ntp, presentation. Grant and the, way you spread, this money out is really up to you so some people will. Spread. That money across just a few presenters. And give them that full 50%, of the artists fee some, people will, do. A lot of small grants, so they will spread. That money across their whole tour and give, $1,000, here $1,000, there, and we. Work with you to help develop, that strategy but it really is completely, up to you. We, also recognize, that. Allocating. That money creates a lot of work so, we do require that each project must, have a designated, tour coordinator who's, in charge of negotiating, directly with presenters, that. Being said because we. Recognize, that. Not.
Every Company has the infrastructure, to have a tour tour. Coordinator like that we do allocate. $10,000. To go towards, tour administration. In. Order to be eligible for, this grant the, applicant, must be us-based, theater ensemble or, individual, artists, with identified, collaborators. Have. A, nonprofit status or a non-profit fiscal. Sponsor, have. One committed, development, partner relationship. Allocate. The funds among tour sites within two years of receiving the grant. Fulfill. The requirements, and reports if awarded, and, for. Returning artists, all MTP supportive presentations. Are completed, and it, has been one year since the last NTP. Supported presentation. And there's. A real equity. Reason, around that when, you only give ten grants you. Have to maintain grants. For new artists, and cannot always support, the same artists, but we also know that artists, grow and companies and ensembles, grow and we, have to be able to support those as well so we think this is a pretty easy requirement. Compared to some other funders that require five years which we didn't want to do, slightly. In order. Oh yes so the flipside, to that. The. Types of projects that we did not consider. So. We. Aren't able to support everything and we do have some limitations, on the type of projects, we can award grants to so. Projects, focused, solely. On children's, and family theater we. Do not support however. That, doesn't mean that whatever the project is is doesn't. Have that component, within it but, it isn't the sole focus of the project so we have supported, projects, that have a, school. Show component, to it or a residency. Component, to it which is fine but. It's not the sole focus of the project we. Also don't support projects. By solo performers. That being, said we, have had many projects, that have a single performer, on stage, that. Is not the entirety of the ensemble we understand, that ensemble. Process, is. Part. Of the creation work as well, so it may look like a solo performer, on stage but then the creation process was, entirely, ensemble. We. Also don't support projects, developed by lead artists, who are non us-based, and you, can have artists, who are non us-based as part of your ensemble but the lead artist, does need to be us-based. Next. We are going to talk about the considerations and criteria, that advisors, are asked to look at in choosing projects, for the grant. Yes. So as we move into talking about the grant criteria and, how the grantees, are selected, we want to first mention the PFAs EDI a value, statement that's equity diversity inclusivity. Accessibility. And this, was created as part of me ferret Egypt plans this. Statement is really central, to how, our grant, is. Really. Central to our grant making process, and we ask our panelists, to keep it in front of in front center as they're considering, the, applications, and so we want to read it to you so that you can also keep this in mind so. It reads NEPA, values, and equitable, diverse, and inclusive world which, we interpret as all people having fair access to the tools and resources they. Need to realize creative, and community endeavors, we, acknowledge structural. Inequities that have excluded individuals. And communities, from, opportunity based, on race gender disability. Sexual. Orientation. Class. Age. Geography. Culture nation. Of origin and, language, and strive, to counter, those inequities in our work. So. Now as we move into the criteria, I'm going to read these word forward because, this is what you will see when you go to fill out an application and. The questions that are asked in the application, derive directly from these this. Is also what our panelists, will be looking at when they assess your application. And. We really do recommend that you are looking at this as you fill it out and all of the criteria, is available, on our website and, you will also see it when you start the grant application, so. The NTP creation, and touring grants support. The creation and development of, us taurine of new artist LED devise, Ensemble. Theatre Works that demonstrate. Excellence in the artist practice. Support. Works that contributes, to the cultural, and aesthetic diversity. Of today's theater reflect. Meaningful, partnerships, with presenters, producers, and other organizations. That are involved, in the development promotion, and/or. Taurine, of the work of the, new work. Often. A potential to deepen engagement because. Of the works relevance, originality, and/or, timeliness, and. Produce. A viable plan, for touring the supported, work in multiple communities, in the US and its territories which. We define as the, 50, United States as well as Puerto Rico Guam Northern. Mariana, Islands, the US Virgin Islands and American Samoa. So. What, is a development, partner.
Development. Partners provide, a variety of resources during, the development, of a work including. But not limited to. Providing. Residency. Space I'm. Finding audience for working partner showings, so, administrative. Guidance or support, marketplace. Advocacy. Or. Planning assistance. Leveraging. Of additional funds for the project and more. Development. Partner is fundamental, to making this work happen, we, have, found over the nine years of grant making that, we have been doing this that. The better the relationship is, with the development, partner the, more likely it is that the work is going to come together in a way that feels successful. For the artists, six, slide please. Development, partner does not necessarily, mean a presenter, it could mean an incubator, space, a service, organization working. With a community you're, hoping to reach or, any number of other organizations. And. Really. Emphasizing, that it does not need to be a theatre organization. The. Development. Partner, is not required to present the finished work at any time though many do and it. Is understood, that the need and level of assistance and relationship, between development, partners. And artists, varies from artist to artist but. NTP, believes strongly, that partnerships, greatly, benefit, the development and distribution of, device Ensemble. Theatre. So. Looking at the timeline for, this grant so. The creation and touring Grant selection process, is divided, into two rounds, it's the preliminary, or inquiry round which, is what we, are working on right now and then, there, is a full proposal or a final application, round, the. Preliminary, round, begins in January when the grant inquiry, application, becomes available on the NEPA website, the. Inquiry application. Deadline is March 9th at 11:59. P.m. Eastern, Time, and once. We have processed. All the inquiries we send out a panel, booked with all the applications to the NTP Advisors, last. Year we received a, little, bit over a hundred applications we expect, that we'll probably receive. A similar, amount this year so, reading through those takes the advisors some time so. They will meet in mid May to select. The. Final, the, finalists, who will then be notified, from. There. The. Final application will open, in mid May and. The final applications, are due June, 15th, at 11:59. P.m. Eastern, Time. NEPA. Will announce the creation and touring grant recipients, in late. July. Or early August, and, then we will. Publish. That and publish a grantee. Booklet which will distribute to, our constituents, in September, of 2020. Who. Are these people making this these decisions, is something. You may wonder about, so, let's, talk a little bit about the NTP advisors, so. These are people who provide, critical, guidance to the applicants, in the, proposal. Preparation and, tour development. As. Derek mentioned, you'll be assigned an. Advisor to work with for the final application and this is a. Great, opportunity, for you, to utilize their, their, time. And resources that they're offering to. Really. Build a new relationship with them have. Them see your work and understand, their work your work so. That they can make. Strong. Arguments, for you during the panel meeting. NTP, advisors, also guide project. Selection and service consultants, and ambassadors, for the program, we. Really rely on NTP, advisors when we're doing policy. Discussions. Editing. Our criteria, when, we're looking at the questions that we ask all of you in the application, there. Are incredible, resources to, us and they also serve as ambassadors, for the program by, telling. Artists, that they know about our grant program and. Distributing. Information about our grants. The. NTP advisors, represent. Presenters, producing. Theatres festivals. Service. Organizations. And theater artists, and. Recently, we have also started, adding returning, artists, now that we're not wearing their tenth ear who. Have gone through this process before which is really great because, they have some perspectives, that not the. Other advisors, don't have who actually. Have gone through this process and. Then. Selection. Of advisors, take into, account geography. Gender. Cultural. And racial equity and includes. New and established leaders, in the field and the. List of our current advisors can be viewed on our website next. Slide please. So. Now, we're gonna move into the, nitty-gritty, technical. Stuff of applying, for this grant so the grant application. Is on Neha's web site and. To. Those of you who have applied to NEFA grants before you'll, notice that this year we have a new portal, which we think will make the process a little bit easier but if you're, used to the old one it is a little bit different so, you'll get, to the portal by going to.
Wwf/e. Org. From. There to, start your application you'll navigate to, the national theater project creation and taurine grant page so, they get there you'll go, to. The grants header that's, highlighted, above click. On find, a grant and then, you'll just scroll. To national theater project, that'll. Take you to a page that looks like the one you're looking at now so. From there obviously. You'll hit apply now to start your application if. You aren't ready to start your application but you want to take look at what the questions are so you can start preparing you. Can hit preview application questions. And then, once you've started you. Can either navigate, to this page to return to your grant application, or you, can do it straight from the Nisa home page just by highlighting grant as you see there and there's, this return to your grant application, button. Straight, on the NEPA website. When. You click the apply, Now button it, will take you to the, online portal, page which looks like. If. I can push the slide I. Think. My computer is freezing, there we go so. This is what the website. Will look like to login to the portal, even. If you've applied to NEFA grants before unless you've done it on this new portal so if you apply maybe in the last six months you might have an account but, you're old nifa account would not have. Transferred. Over so unless. You've applied to an ephah grant really recently, you're going to have to make a new account so, just click new user answer. All of your questions, set. Up your account if, you have any issues with that you can either get in touch with the, national theater project staff and we'll give you all of our contact information you. Can also email tech, at nifA org, which. Will put you into the extremely. Capable hands of our. Technology. Director ABI who is amazing. So. Once you have set up an account oh sorry one more note on your account you'll notice that, your user name cannot be the, email address which can. Throw people so just keep track of your user name if you forget it you can always do this can't access your account and we'll, sort, it out but just, keep it that in mind because I know I forget, a lot of times when I can't use my email address. So. Once you're in this is what the application, itself, will look like. As. You're. Going through we recommend, you save as much as possible I would save after every question because. Things happen. Websites. Crash. Whatever, it is and you don't want to lose that information when. You're filling out the narrative, questions I would recommend actually doing it in a your software a document, or some kind of word processor, something. Where you know it's safe and stable and. Then just pasting, that into, the, application. Itself at the very end. Just. When you're doing that keep in mind that special, for me madyun like bold italics. Underline. Things. Like that will not transfer, it into the application, so, just be mindful of that, as. You're going through you'll. Have. To save throughout, in order to get to the next page you can see there's these six. Or seven tabs at, the top and. As you go through you'll hit save and I'll move you to the next tab and will also let you know if there are any required, fields, that you're missing at the, very end you'll hit this review, slash print button in the upper right corner and then, you'll have to actually, hit submit, again so. Again. Keep in mind that review slash print does not submit it that, just takes you to the page where you will hit submit. And. Then finally, one other slightly. Confusing. Thing that you might run into and I just want to clear this up, when. You go to return, to, your grant application, it will take you to a page that looks, like this one at the top here and you'll, see that there's these three tabs on the Left request, inquiry, and report, those. Are for three different types, of applications. Or reports that you might do in nepos portal, this. Preliminary, application is, actually an inquiry. So, when you go to this account it won't immediately or, when you go to this page sorry from the return to my grant application, button.
It Won't, immediately show, your creation, and taurine application, you'll have to click in create then, it'll take you to this page that you see at the bottom of the screen and. There. Will be a little button you don't see it here because. I'm. Actually not sure why but there, will be a little button underneath where it says edit you can just click that and go into your application, and if, you have any issues with any of this again just let us know we. Are very accessible. Narrative. Questions that. We'll be asking for this, particular. Round are as follows. So, number, one please, describe, the proposed new work. Number, two describe, your devising, development, process, and how this project meets the definitions, of device and ensemble, theater, number. Three which, is a new. Question that we added last year we. Acknowledged that the people reviewing, your application are, likely to have gaps in understanding or knowledge about the context, for your work please. Provide your own definitions. Of excellence, and success for this project and any, other information you think will be important, for the advisors to have to, fairly assess your application, next. Page please. Number, four how, does this project contribute, to the cultural and aesthetic diversities. Of today's theatre number. Five list, key benchmarks, and development, and estimated, schedule, of completion. Number. Six briefly. Describe your relationship, with the development, partners, named on the application, and how, they will contribute to the development and/or. Touring, and promotion, of this work and number. Seven describe. The audience's, and communities. You want to reach and how you envision. Connecting, with them through this work and you. Can access these questions, without actually opening your application. Form it's on our website, there's. A link I, think that says preview, your narrative, questions. So, if you click on that you can see all of these questions along, with the characters, so you can you know copy and paste, it on a word document and work on your narrative that way and then later copy, it back into the application, form.
Yes. Next, slide please so. We. Started including video, sample, requirements. With our application because, originally. We didn't have it and our advisors we're going through and finding, videos, on the internet and. We. Decided that if, they're going to be looking at the videos you should be able to choose which videos are seen as opposed to just some blurry, YouTube, videos if someone put up from a performance so. We now do require, that you submit one. Or two video samples, there, is a three, minute total. Maximum. Of, video footage that you can include so, if you have one video, that's two minutes the other one can only be one minute etc, if. The video goes over those three minutes that's fine you just need to include two. Times for us so that we can tell the advisors or, panelists, where to look, the, work sample does not necessarily. Need to show the, work that you're applying with but, it should show a recent work probably. From within the last four ish years, panelists. Will be watching these samples, so you had a better idea of what to expect from your project so, we encourage you to include a clip that connects, to the proposed project, and shows, them something. Can learn about the work from this video. So. Again, some of the more, nitty-gritty, details, of, submitting, these. For. The preliminary, application which, is the one you're working on right now we don't, require, that the videos be, downloadable, so, you can include a YouTube video or whatever. Link that. You can send to us so that we can watch it that. Being said for the final application it will need to be downloadable, so if you. Want to it, might be simpler just to have, a downloadable, version now. And send that in so. You can use Vimeo or Google Drive or anything like that but. If you want to just use YouTube for the inquiry, round that is totally fine. So. You'll give us the link to the website. For. The video and if it's password-protected, just, please please please be. Sure to give us the, password so that we can share that. You. Should keep in mind that, the. Panelists. Will be reviewing these on their own time on their own devices if, you.
Have Access, to files with. Subtitles. We really recommend that if not, it's totally fine but keep, in mind that if there's any audio, that's hard. To understand. Or, whatever. The. Advisers, might miss some of that information so, just be mindful of that and then, on a similar, note because. The, advisors will be watching this on their own time it's, really really important, that if you send us a link you, leave that video online until. At least. Until. The mid-may panel, meeting because the, advisors will be going back to these videos and watching them up until that point and if the video is not there anymore they're. Not going to be able to see your work. So. Here we are looking. All cute this is the theater team. So. There you, know and myself and, we, really want to emphasize the, importance, of communication, and, ask, that you stay in touch with us during your process we. Welcome, you to send an email or call us if you have any questions, that come up, we actually do respond, we. Also have, office, hours coming, up next week in the following week we just I think. Uploaded, on our website, where. You can sign up for that, and, I can send that link over. Along. With the. Recording. Off this webinar so. That you have it handy there are all 30-minute. Time slots now you can sign up for to. Talk to one of us. About. You know specific questions that you may have about your application. Let's. Move to the next life. Yeah. So I think we're at the end of our webinar apart, so we are opening, up to, questions. So. You can go ahead and unmute yourself. And, ask, the question or you can type it in the chat box if you would prefer that. Yes, I see a question. Can. The nonprofit, applicant, be the development partner, -. Do. You mean the, nonprofit, fiscal. Sponsor, or you mean the artist ensemble. Applicant. The. Fiscal sponsor yes. Oftentimes. A development. Partner they. May offer as one of the ways that they assist, the development to, provide fiscal. Sponsorship. Let's, see Mellon, is a prolific, funder, in the theater space right now well. Being a grantee, for another of their programs, effect the applications. Viability, no. Simple. Answer. You. And. You talk about the designated, tour coordinator and their connection, to the application, at this point. At. This point in the Inc career aound we, don't really require you to have a designated, tour coordinator just, know that you will need somebody, once you do receive our, grant, in.
The. Final. Application there'll. Be a slot where you can write their names, but. It's not really, a part. Of our decision-making. Whether. You. You, have, identified, the tour coordinator at, that, point or not, and, in, terms of some ensembles, where as Derrick, said if they don't really have the infrastructure, for, having somebody most. Of the time on an ensemble, member will be the tour coordinator, and. So. Hopefully. The $10,000, that you get additionally, on top of the grant will. Go towards. Assisting. Their work. And. We have a question if we receive a grant for the same project will we be disqualified. So. You. Are, totally welcome to get other funding, from outside, of, nifa and DP the, only exception, would be the, national, dance project so if you're applying for the same project for an ethos national theater project and ethos national dance project you. Would not be able to, be funded for both of those you can apply for both so. You. Just yeah. If you receive, the national dance project they announce, their grantees before we do so you would have to make a choice then. But. As. Far as granting, outside of there's, no problem there. Next. Question, is I'm, having, trouble with what is considered a new. Developing. Piece if the, work has been performed before can it be considered. Yes. We. Are pretty flexible about, the term premiere, because. We understand, there are so many ways. That folks, can have premiers it could be like. City premier state premieres you, know world. Premiere, um. So. It's, more about if. You do have more development, that needs to be done to that project. That. You. Described. That in the application, as as in. Detail, as possible so that the advisers, and panelists, understand, that you still have a lot of development to be done and it doesn't matter if you have already done, a work-in-progress showing. Of some, sort or performed, it before. Eric. You want to take the next one. Yep. So. The next question is could, the development. Partner be an educational, institute, which would not be involved in the finished project but would provide space for rehearsal. And connection, and community etc and, the, answer is absolutely. Many. Of our projects, use development, partners that are not presenters. Or even arts organizations, anyone. Who's helping you put this project, together, could be a development partner in the, application, what you'll want to do is just talk about why. This development, partner is helping you make this work and why they are valuable, but, we do, not require that, that be. Connected. To the final, product whatever it is an. Educational. Institute, is, perfect I. See. That there was a question that we, missed. Which is what is the earliest start date for project, activities, and funding. Is. This. Do. You mean, touring. Activities. Or. Development. Activities. If. You could expand, on that kollene that'll be great and, then meanwhile how. Expansive, is, your definition of, theater. What. About multidisciplinary. Works particularly, those that span digital, and analog presentation. Platforms, yeah. I, think, we're pretty expensive, about the definition, of theater the. Best way to see. That is the, ROO, looking. At what projects we have supported, so far which, is all available on, our website an. Ephah website and you can go to the grant directory, and sort it by national theater project and. You see the, array, of projects, that we supported, which range from. What. Is that. Animation. There's. Like a specific name for that the, Tory finds Derek. What is it called, something. I just. Thought animation, I don't know it's. Like an animation film with life fully, and. Also like music and. We've. Also supported. An. Opera, with, collaboration. With children's chorus we've. Supported, work like. Complex, movements, which is. Be. Aware of the dandelions, which was. Highly. Technical. Incorporated. A lot of multimedia. So. I think it's worth looking through, what we have supported, but, we are pretty expansive, about, our definition.
Of Theatre and. I see that Colleen responded. To development, activities. So. We. Support. So. The funds. That you receive, have. To be used, for development, after the grant date so that will be mid-august, is usually when we let the grantees, know, doesn't. Mean that the development, cannot, have started, before that because, a lot of our applicants. Have started developing something ears in advance but, the funds specifically, that we grant you for, a development has to be for, development, work that is from, August. 2020. And. Beyond. Derrick, you wanna do, the next question. Sure. So. Could a development, partner be another artist, like if we're a theater, ensemble, interested. In collaborating with, a particular, musician, I think, this one's a little bit harder to answer, I think it would be a little bit case, specific, I would. Say generally, no, I, think. That if. You're working with a particular, musician, that would, be usually considered, just part of your artistic team. But, there are unique circumstances. And. If. That's something you're thinking about and wondering about I would recommend getting in touch with and talking, about your specific situation. And. I. Guess it might be a good time to just take a minute to go back to the questions we've already answered I know we're kind of just going from one to the next and when you're typing, is sometimes hard to say. If you didn't really, understand. An answer so to those of you have asked questions or just been listening to these did all of these answers. Pretty much cover, what. You were asking is there any lingering. Doubt about anything you've already asked. Or. New questions. Let's. See. So. There's a question is, Vitoria, only national, your international Torian would also be considered so. Our grant can only cover performances. Within, the United States that being said the project can tour outside of the United States we just wouldn't you. Wouldn't be able to use your touring funds for those performances. Yeah. And then I see can you have more than one development, partner yes. In the preliminary application. I, think, you have to identify the primary development, partner and then there's an area where you can add two more, development.
Partners In your application, for. The final application I think we have more space we, might actually no not have any limits so, yes you can have multiple moment. And. There's a question if the artist is part of an ensemble that has recently received, the NTP grant, and now he. Is the lead artist of another ensemble, would he be eligible to. Apply and, as long as he wasn't, the lead artist or they were the lead artist with. With. Both projects, they would be there's lots of overlap between, our. Projects. Many people have been in many, ensembles. And that is totally okay as long, as they aren't the lead artist. For. That ensemble or for both ensembles, I should say. And. Then we have. I'd. Love to just hear more about development partnerships, maybe examples, of partnerships. Aren't theaters sure. So. One of them that, I can think of right off. Right. Now is sang. Glass theater who received a grant from, us for. A work called Babylon which was working with Syrian refugees, and. Their development partner, was refugee. What. Is the name of. Association. It was an organization that worked with refugee. Families to a system. With. You. Know relocating, here. And. Assisting. Them through their new lives and. Stained. Glass was able to have. A really deep relationship. With this development partner by having, them, introduce. Them to families, Syrian. Families that they can interview, it and. It was done in a really thoughtful way, so that it's not we, triggering, or reach remote izing, for the family so it was a really careful process to develop these relationships. So. Those are. Deep. Development. Partner relationships, that are with, non, theater, or arts organizations, I don't know if that's helpful. Somebody. Asked, can you define iterative. That's. A hard question because it kind of depends on how you look. At that word. I mean, iteration, is the repetition of a process, right, so I. Think. It's, it's part of. Many. Of the, ensembles. That develop work divides. Ensemble. Projects. Where they they. Go through. Repetition. Of. Different. Ways to, express. Their work. Different. Work-in-progress. Showings, and then kind of developing. Work, from there there's. Many ways that you can define that and it's really we leave it up to you to define that for us. Um. Let's. See could we consider a potential, development partner who, at present, is working, with one of the last round of NEFA touring creation grantees, or they should not be eligible no. You can, work with a development, partner who is working, with. Touring. And creation grantee we don't really restrict, that um even. Within this round there could be multiple people.
Organizations, That are working with. Three. Or four applicants. That are applying for this year we. Don't. And. Just iterate. The, development, partners themselves do, not get, money from us the money is given directly to the artist the development, partner, is. Just there to work with the artist you you may choose to give money to the development partner, but that's that. The. Money isn't going directly, from us to the development, partner. Contract. Between us. And. There's no formal contract, between us and them. The. Little voice you hear is Kristen Gregory. The. Whisperer. Trying. To remain anonymous. Anything. Else. And. It here, we go we have one can. The project, and NEFA cover, expenses, include. Community engagement installation. Yes. The, creation. Funds. Can. Absolutely cover, community. Engagement, and installations, the taurine, also, could if. It's. Worked, into your artist fee in some way then. The. Money. That goes to the presenter, because. We're covering 50%, of the artist fee if that's, included, in that it could also be included, there. And. In terms of you know your expenses, around development, and also contracts. That you have with presenters, we don't really. Mmm. We ask, in the final report for you to submit a budget but it's really not for us to judge how you use that so it's really up to you we. Just asked for that. Final. Budget just, for our granting, purposes, as well since we are we granters for. Our funders to see and also, in terms of the contract that you have with your presenters, we, don't take a look at that at all that's really up to how you negotiate, with your presenters, um so, we don't really. Yea. Put. Ourselves in, that process. In. The, budget planning how detailed we need to be to show how much we'll go to the community, engagement towards. Creation, and, how much to the participating. Artists. So. In the preliminary, application we, don't have a budget section at all, we. Took that out um so, that is not required, in that stage in the. Final. Application there'll, be a section, to put your full budget for development. And. You. Can just follow the fields that we offer and, kind, of fit in whatever you. Have in terms of expenses, as long I hopefully will match what you have with, the form that we offer, and. We do have a budget description. Section that, you can elaborate, on further. If you want to talk further about it, so it's really. How much ever detailed that you want to offer us. Typically. More details, more. Transparency, the better so. That the panelists and advisers have the full scope. Of what. You're trying to do but. Obviously, we have. Character. Restrictions. And such so within, what, we offer as. Many as much detail as possible will, be great. If. No questions, come up you're of course always encouraged. To email those to us we really, hope that we'll be able to talk to you some of you in office hours that's a really good place where we can talk. Specifically, about your projects, questions, that. Going. Through some of the things that you're thinking about some of the questions you have for your project specifically, and if, the office, hours that we have listed on, our own knee pose website don't fit your schedule that's. Completely, okay let, us know we, will find another time to talk with you those are just kind of a starting place. Okay. Okay. Great I think we. Are at the end of our webinar as, Derek said reach out to us if you have more questions we. Will send out the link to this recording, as well, as the link to the office hours, as well, so. Thank you so much for taking the time to be here. With us this, morning, /. Afternoon, wherever you are, and. Hope, to hear from you soon. Thank. You.