Operating Support
Operating Support
General operating support
Judson Bemis Jr., Actor, arts administrator, founder and principal of Clere Consulting. Secretary, Minnesota State Arts Board.; Ardell Brede, Mayor of Rochester, elected 2002.; Peggy Burnet, Businesswoman, art collector, and community volunteer. Chair of the Nominating Committee, Smithsonian National Board. Trustee, Hirshhorn Museum and Sculpture Garden. Vice Chair, Minnesota State Arts Board.; Michael Charron, Dean of the School of the Arts, Saint Mary’s University of Minnesota. Vice Chair, Minnesota State Arts Board.; Sean Dowse, Executive director, Sheldon Theatre. Board member for Minnesota Music Coalition, Minnesota Citizens for the Arts, and Anderson Center for Interdisciplinary Studies.; John Gunyou, City manager, Minnetonka.; Benjamin Klipfel, Board member, Minnesota State Arts Board. Executive Director, Alexandria Area Arts Association, Inc. Director and arts educator.; Ellen McInnis, Director of Twin Cities government relations, Wells Fargo. Member of Bottineau Boulevard Partnership. Chair, Minnesota State Arts Board.; Pamela Perri, Executive vice president, Builders Association of Minnesota.; Margaret Rapp, Former educator, Saint Paul Academy and Summit School. Officer at-large, Minnesota State Arts Board.; Anton Treuer, Professor of Ojibwe, Bemidji State University.
Lawrence Burnett: Choral director and professor of music, Carleton College.; Sunny Chanthanouvong: Executive director, Lao Assistance Center. Policy Fellow, Humphrey School. Board member, St Paul Foundation, Asian/American Health Coalition, Harrison Neighborhood Association. Member, MN Compulsive Gambling Advisory Committee, Civil Rights Commission.; Nolita Christensen: Marketing and operations consultant, Great North Show Providers.; Brian Jose: Executive director of fine arts programming, College of St Benedict/St John's University.; Jerry Lopez: Executive director, Ce Tempoxcalli.; Jennifer Penzkover: Coordinator, Saint Cloud Arts Commission.; Andrea Specht: Executive director, Bloomington Theatre and Art Center.; Sarah Stauder: Executive director, Rochester Art Center.
ACHF Arts Access
Present innovative work that connects with members of our community in imaginative and personal ways. In this next season, we will produce Inuksuit, by John Luther Adams, to be performed by 9-99 percussionists in an outdoor space. Through this production, we will establish or deepen our connection with 66-99 drummers of varying ages, abilities, and cultural backgrounds in the Twin Cities, and to a lesser extent, the state of Minnesota; and establish mutually beneficial partnerships with Minnesota Parks and Trails and Ellis Drums. Through presenting innovative new work of the type described above, we are hoping to reach audience members that would not typically attend a new music event, engage new sound artists and performers that do not typically create chamber music, and increase our visibility. At our performance at Caponi Art Park, roughly 230 audience members wandered about the outdoor performance art installation. Our audience included many families with small children (not at all our usual demographic) as well as senior citizens. Based on feedback elicited from Caponi Art Park staff, audience members expressed that they found the experience unusual but gratifying and would come back to experience other such performances in the future. The production enjoyed lively social media presence and garnered a Star Tribune article, satisfying our aim to increase visibility. 2: Increase the scope of Zeitgeist New Music Cabaret and Zeitgeist Early Music Festival. With these festivals, we want to increase attendance by 10%; increase the media attention these festivals receive (two-four significant media articles or reviews); and establish at least two sponsorship relationships with local businesses. With our Early Music Festival, we would also like to increase pay for our participating performers to 10% above union scale and increase the number of professional and non-professional performers engaged through this festival (from four to eight). To evaluate our work regarding this outcome, we tracked audience numbers and noted sponsorships, media coverage, and performer compensation.
Our first outcome was to present innovative work that connects with members of our community in imaginative and personal ways. Specifically, we referred to presenting a production of Inuksuit, a work by John Luther Adams for 9-99 percussionists in an outdoor space. We didn't produce that production in our last year because we had an opportunity to create another such special work with the 2012-2013 McKnight Visiting Composer, Hugh Livingston. Because bringing this composer's work to the community was time-sensitive, we presented his work, Sound and Place, instead. Hugh Livingston is a sound artist who sculpts sound in outdoor spaces. Sound and Place is an evening-length work created for Zeitgeist and Caponi Art Park. The work premiered in July 2013 and took place over roughly an acre within the park land. Next season, Zeitgeist will present Inuksuit in August at Caponi Art Park. 2: With our Zeitgeist New Music Cabaret and Zeitgeist Early Music Festival, we were aiming to increase attendance by 10%, increase the media attention these festivals receive, and establish at least two sponsorship relationships with local businesses. This season, we increased attendance for our Zeitgeist New Music Cabaret by 8% and our Early Music Festival by 13%. We developed sponsorship relationships with five businesses and our Early Music Festival was the subject of two articles (Minnesota Daily and Knight Arts). We had also hoped to increase compensation for our Early Music Festival performers and increase the number of performers involved in that festival. This year, however, this festival simply didn't need the participation of many performers, though the three that did participate were required to participate more extensively throughout the festival. We did increase compensation for extra performers beyond union scale.
Other, local or private