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Association of Performing Arts Presenters annual conference (APAP|NYC 2014)* 1/10-14/14

January is a special time for performing arts professionals who gather in New York City and for the arts enthusiasts who join in the fun–the Association of Performing Arts Presenters annual conference (APAP|NYC 2014) is January 10-14 with preconference January 9-10. 

APAP has developed over the years to better serve the performing arts community, and communities everywhere.

The world’s largest convening of performing arts professionals brings together 3,500 artists, agents, presenters, producers and others to explore the latest trends in performing arts, to network and to conduct the business of arts presenting. Dance, theater, music and opera are showcased and industry leaders conduct sessions on relevant topics.

APAP 2014 logo photo

Arts Presenters Announces 2014 Award Winners

Philip Glass; Harlem Stage, Patricia Cruz and Brad Learmonth; and Robert L. Lynch will be honored as leaders in the performing arts field

The Association of Performing Arts Presenters announces the 2014 Annual APAP Awards recipients, whose service to the performing arts has had a significant impact on the industry and on communities worldwide. The winners will be honored at a luncheon, noon, Monday, Jan. 13, 2014 at the New York Hilton Midtown in New York City.

“The Annual Arts Presenters Awards celebrate the extraordinary talents and contributions distinguished colleagues and organizations have made to our field, and to communities across America and around the world,” says Mario Garcia Durham, APAP President and CEO. “We honor their creativity, passion for and commitment to the performing arts on behalf of the greater good”

Each year, a panel of national arts leaders decides on the winners and APAP bestows four awards based on nominations from the field. This year’s awardees are:

• The Award of Merit for Achievement in Performing Arts: Philip Glass

• The William Dawson Award for Programmatic Excellence and Sustained Achievement in Programming: Harlem Stage, under the leadership of Patricia Cruz, Executive Director and Brad Learmonth, director of programming

• The Sidney R. Yates Award for Outstanding Advocacy on Behalf of the Performing Arts: Robert L. Lynch, President and CEO of Americans for the Arts

• The Fan Taylor Distinguished Service Award for Exemplary Service to the Field of Professional Presenting recipient is announced at the luncheon each year.


Born in Baltimore, Maryland, Philip Glass is a graduate of the University of Chicago and the Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and while there, earned money by transcribing Ravi Shankar’s Indian music into Western notation. By 1974, Glass had a number of innovative projects, creating a large collection of new music for The Philip Glass Ensemble, and for the Mabou Mines Theater Company. This period culminated in Music in Twelve Parts, and the landmark opera, Einstein on the Beach for which he collaborated with Robert Wilson. Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra and film. His scores have received Academy Award nominations (Kundun, The Hours, Notes on a Scandal) and a Golden Globe (The Truman Show). Symphony No. 7 and Symphony No. 8—Glass’ latest symphonies—along with Waiting for the Barbarians, an opera based on the book by J.M. Coetzee, premiered in 2005.

In the past few years several new works were unveiled, including Book of Longing (Luminato Festival) and an opera about the end of the Civil War entitled Appomattox (San Francisco Opera). Glass’ opera Kepler premiered with the Landestheater Linz, Austria in September 2009 and his latest opera, The Perfect American about the death of Walt Disney premiered at the Teatro Real on January 22nd, Madrid in 2013 and will be performed by the English National Opera in June 2013. His Symphony #9 was completed in 2011 and was premiered by the Bruckner Orchestra in Linz, Austria on January 1, 2012 and his Symphony #10 received its European premiere in France in August. Glass’ most recent opera Spuren de Verirrten, ‘The Lost’, premiered at the Landestheater Linz, Austria on April 13th, 2013.


For 30 years, Harlem Stage’s unique focus has been to identify visionary artists of color and support them by commissioning, presenting—and increasingly in recent years—producing their vital work that responds to the social and political conditions that shape our lives. Harlem Stage has a long-standing tradition of supporting such artists—around the corner and across the globe—including legends such as Harry Belafonte, Max Roach, Sekou Sundiata, Abbey Lincoln, Sonia Sanchez, Eddie Palmieri and Tito Puente, as well as contemporary artists like Bill T. Jones, Vijay Iyer, Mike Ladd, Tania León, Carl Hancock Rux, Nora Chipaumire and Jason Moran.

The New York Times has saluted Harlem Stage as “an invaluable incubator of talent” and the organization as been hailed as one still unafraid to take risks. Harlem Stages’s investment in this visionary talent is often awarded in the early stages of many artists’ careers and the organization proudly celebrates their increasing success, most recently illustrated by members of their artist family joining the ranks as MacArthur “Genius” Fellowship awardees: Kyle Abraham (2013), Vijay Iyer (2013) and Jason Moran (2010). In 2012 Harlem Stage commissioned and presented one of the first MacArthur awardees, Cecil Taylor, in a two-night celebration of his genius. Harlem Stage is particularly proud to have commissioned and premiered new works by these bold visionaries.

In 2006, Harlem Stage opened The Gatehouse, completing a $26 million campaign anchored by the restoration of the historic West 135th Street Gatehouse into a state-of-the-art, flexible performance, rehearsal and support space. The architecture and design renovation of the Gatehouse has been recognized with The New York Landmarks Conservancy’s highest honor for outstanding preservation, the Lucy G. Moses Preservation Award, and the New York State American Institute of Architects Design Citation for adaptive reuse.

The Gatehouse is a New York City landmark built in 1890 as the pivotal facility within the Croton Aqueduct system for the distribution of clean water to New York City. Harlem Stage has restored the significance of this structure by creating a space where ideas and culture will now flow from Harlem to the entire city. This event marked the beginning of a new era in the history of the institution. The architecture and design renovation of the Gatehouse has been recognized with The New York Landmarks Conservancy’s

The facility has become an asset for the Harlem community and our school children. It is a home, a safe place, for artists of color to experiment, take risks and create transformative new works that challenge us as individuals and collectively to think critically and act responsibly toward the development of a just world.


Patricia Cruz has served as the Executive Director of Harlem Stage since 1998. A highlight of her tenure has been in guiding the team of Board and staff in the restoration and adaptive reuse of the century old, historically landmarked Gatehouse into a state of the arts theatre in Harlem.  It has become an asset for the Harlem community and our school children. It is a home, a safe place, for artists of color to experiment, take risks and create transformative new works that challenge us as individuals and collectively to think critically and act responsibly toward the development of a just world. Cruz says, “In order to advance our work and the artists we support, we need to do more – not just in the Harlem community or New York but across the globe. And, that’s where we are setting our sights as move into the next 30 years.”


Brad Learmonth has 25 years of experience at Harlem Stage in creating and developing programming that serves the mission of the organization and nurtures and advances artists in the field. After a decade of managing and growing the arts education programs at Harlem Stage, he became director of all programming in 1998.  In that capacity he has been responsible for the overall programmatic creation and implementation for the institution, including such programs as WaterWorks commissioning program, Harlem Stride jazz programming, E-Moves dance showcase, Harlem Stage on Screen and Uptown Nights, to name a few.


Robert L. Lynch is president and CEO of Americans for the Arts. With more than 38 years of experience in the arts industry, he is motivated by his personal mission to empower communities and leaders to advance the arts in society, and in the lives of citizens.

In 1996, Lynch managed the successful merger of the National Assembly of Local Arts Agencies, where he had spent 12 years as executive director, with the American Council for the Arts to form Americans for the Arts.  Under his 28 years of leadership, the services and membership of Americans for the Arts have grown to more than 50 times their original size. He has personally reached audiences in over 2,000 locations spanning 49 states and more than a dozen nations, with diverse constituencies ranging from Native American tribal gatherings to the U.S. Armed Forces in Europe to the President of the United States.

During his tenure at Americans for the Arts, Lynch has overseen the mergers of the Arts and Business Council, Inc. and the Business Committee for the Arts into Americans for the Arts. He has also created the Americans for the Arts Action Fund and its connected political action committee to establish arts-friendly public policy through engaging citizens to advocate for the arts and arts education.

Under his direction, Americans for the Arts has become a leader in documenting and articulating the key role played by the nonprofit arts and culture industry, and their audiences, in strengthening our nation’s economy. This has been done through its signature study of the economic impact of the nonprofit arts community, Arts and Economic Prosperity IV, and the latest study measuring the arts in communities, The National Arts Index. He has also been instrumental in creating a strong portfolio of projects and information about the transformative value of the arts in non-arts areas such as civic dialogue, social problem solving and work with the Pentagon, West Point, and Walter Reed National Military Medical Center on the arts and military.

Mr. Lynch currently serves on the U.S. Travel and Tourism Advisory Board, a position appointed by the U.S. Secretary of Commerce, as well as on the Boards of the Independent Sector, the Arts Extension Institute, Independent Sector, and the University of Massachusetts-Amherst College of Humanities and Fine Arts Dean’s Council. In August 2012 and 2013, he was selected as one of the most influential executives in the nonprofit sector for the NonProfit Times Power & Influence Top 50.

Lynch earned a bachelor’s degree in English from the University of Massachusetts-Amherst, and plays the piano, mandolin, and guitar. He lives in Washington, D.C.


Lineup Announced for World’s Largest Performing Arts Presenters Conference

APAP|NYC 2014 scheduled January 10-14 in New York City

The Association of Performing Arts Presenters (APAP) also  announced its lineup of keynote speakers and sessions for the APAP|NYC 2014 conference to be held January 10-14 in New York City. The world’s premier gathering of more than 3500 performing arts professionals, and APAP’s 57th annual member conference, features more than 1000 world-class artist showcases held around the city, an EXPO Hall boasting nearly 400 booths, more than 80 professional development sessions, A-list keynote speakers, and preconference forums, many of which are open to the public and free.

Keynote speakers, each of whom are pace-setters in the worlds of music, dance, or theater, include Diane Paulus, Stephen Schwartz, Fiona Shaw, Kyle Abraham, Wendy Whelan, Taylor Mac, Abigail Washburn and more. Participants will also hear from individuals who catalyze thinking and discussion that bridges the arts and culture, such as comedian Baratunde Thurston, journalist Farai Chideya, Culturbot founder Andy Horwitz, and producer Anne Hamburger.

“If you represent a viable performing arts organization in your community, you must come to the APAP conference. In a digital age, it is where the business of connecting artists and audiences happens face-to-face.” says Mario Garcia Durham, President and CEO of APAP.

Some APAP members have attended the conference for more than 30 years.

“For first time attendees, the conference experience is like your first day at a university—classes, thousands of attendees, organized chaos,” said Durham. “By arriving with a game plan you’ll make the most of a week filled with opportunity.”

Themes and professional development tracks

The theme of this year’s conference is “SHINE.”

Performing arts professionals attending are challenged to rise up and direct their creative energy to make a difference in the communities they serve, across America and across the world.

Sessions are built around three subthemes:  catalyzing communities, transitioning to new models for connecting to audiences, and making the case for the arts in an ever-shifting landscape.

“This year’s conference subthemes illuminate what APAP members do best in the presenting field,” said Scott Stoner, APAP director of programs and resources.

Sessions are organized around eight professional development tracks:

1.     The business of presenting

2.     Community cultural development

3.     Connecting to audiences

4.     Presenting international artists

5.     Arts and issues

6.     Performing arts programming

7.     Arts, education and interdisciplinary

8.     Special track for APAP member organizations’ board members


APAP|NYC session topic highlights

This year, sessions address current trends and issues in the performing arts, which, not surprisingly, reflect cultural trends across America and internationally:


diversity and equity;

arts and sustainability (global change, climate change);

the care and nurturing of emerging performing artist;

a Pecha Kucha Plenary where rapid fire images ignite interactive discussion that follow;

integration of the arts in higher education and related research;

presenting performances and events in non-traditional venues;

risk, experimentation, failure and growth in today’s arts milieu;

timely issues around presenting international artists (China, Norway and Mexico are among countries presenting this year);


catalyzing communities sessions including

examples of how artists and presenters are reaching out to non-traditional audiences to enrich the lives of those with disabilities such as

returning war veterans,

our expanding aging population,

people in correctional facilities,

homeless populations and others.

For more on sessions, see Professional Development Programs at a Glance at and the Advance Program.

Preconference forums

Preconference forums will be held all day Jan. 9 and 10. They include

Jazz Connect,

the APAP World Music Preconference

and many other sessions and events.

Jazz Connect, organized by JazzTimes and the Jazz Forward Coalition, brings the jazz community together for workshops, panels, networking and special events that are dedicated to expanding the worldwide audience engagement for jazz.

The World Music Preconference, organized by marketing firm Rock Paper Scissors, is the largest gathering of world music professionals in the U.S. The two-day pre-conference includes lively discussions on the latest issues and concerns in the world music field.

Other APAP|NYC preconference events include

the 2014 Dance Forum: Dancing Our Way Through the Affordable Care Act,

sessions on youth and family programming,

the future of arts participation and engagement,


an artists’ pitch session,

an international member’s welcome and orientation and more.

Most are free. Online registration is encouraged.

The conference will be held at the New York Hilton Midtown, Sheraton New York Times Square and other sites in and around New York City.

APAP|NYC brings together performing arts professionals— artists, agents, presenters, producers and others—to explore the latest trends in performing arts, to network, and to conduct the business of arts presenting. Leaders in the performing arts from across America and around the world preview showcases and decide which to bring back to their communities.

Nine affiliated performing arts forums and festivals collaborating this January

This year, APAP|NYC and coordinators of eight other established annual performing arts forums and festivals held on various days between January 3 and 19 are deliberately collaborating to serve the arts community more effectively. Among them are Under The RadarglobalFESTWinter JazzfestFOCUSPROTOTYPE and COIL. Together they feature 1500 showcases and draw 45,000 people to performing arts conferences and events. Topics presented include trends and issues in presenting world music, jazz, dance, festivals, family programs, new artists and more. Together, the organizers of these events fill more than 5,100 hotel nights in New York City. With those guests, and New Yorkers, come taxi fares, restaurant checks, shopping dollars and, of course, tickets to shows. According to NYC & Company, the city’s official tourism organization, the estimated economic impact of these events in New York is almost $26.9 million.


APAP|NYC conference information

APAP membership information

Twitter @APAP365


Information about other leading performing arts events and festivals in January in New York City

ABOUT APAP:  The champion for the performing arts sector since 1957, the Association of Performing Arts Presenters (APAP) supports and educates today’s and tomorrow’s performing arts leaders. APAP is dedicated to making the arts vibrant, sustainable, and accessible, and to moving the industry forward.

“We help connect artists to audiences.” – Mario Garcia Durham, President and CEO.


December 12, 2013 - Posted by | ART, BUSINESS, CULTURE, ENTREPRENEURS, HOLIDAY GUIDES, LIFESTYLES, opportunity, Uncategorized, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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