Artist entrepreneurs: apply for an Artists Ventures Initiatives grant

Letters of intent due Jan. 11, 2017 The South Carolina Arts Commission invites artists to apply for the next round of S.C. Artists Ventures Initiative grants. AVI grants encourage and enable the creation of new artist-driven, arts-based business ventures that will provide career satisfaction and sustainability for S.C. artists. S.C. artists (individuals and collaboratives) may use AVI funding to help launch a new venture or significantly alter an existing venture. A one-time project/single purchase may be awarded up to $3,500. An ongoing business venture may be awarded up to $5,000. The AVI grant program is a two-part process, with letters of intent due Jan. 11, 2017. Selected applicants will be invited to develop a full grant proposal. Read the complete guidelines online. Image: Artist Kristy Bishop of Charleston received an Artists Ventures Initiative Grant to expand her textile workshops.

Free creative placemaking guide available from National Endowment for the Arts

NEA Creative PlacemakingThe National Endowment for the Arts has published How to Do Creative Placemaking: An Action-Oriented Guide to Arts in Community Development. The book features 28 essays from thought leaders active in arts-based community development, as well as 13 case studies of projects funded through the NEA’s creative placemaking program, Our Town. How to Do Creative Placemaking is intended as a primer for those interested in bringing the arts to the community development table as a tool—along with housing, transportation, public health and other sectors—to advance revitalization efforts in an authentic way. The book is available for free (as a hard copy or PDF download.) “The book is meant to help people start working with the arts to make their place better,” says NEA Director of Design and Creative Placemaking Jason Schupbach, “We wanted to create something easy to use and full of options for communities to begin doing this work, or to improve what they have already started.” The book is divided into six chapters, “Inclusive Planning + Equitable Development,” “Economic Opportunity,” “Community Identity + Belonging,” “Arts + Government,” “Arts + Physical Infrastructure,” and “Arts + Community Development Organizations.” A sample of the essays: • “Five Lessons Learned for a Successful Public Art Project,” by Americans for the Arts’ Patricia Walsh • “Can Arts Drive Rural Economic Development?” by USDA Rural Development’s Chris Beck and the International Sonoran Desert Alliance’s Tracy Taft • “Ethics of Development: A Shared Sense of Place,” by the National Association of Latino Arts and Culture’s María Lopez de León • “How Can a Planning Authority Work with an Artist to Improve Public Health Outcomes for Residents?” by the City of Fargo, North Dakota’s Nichole Crutchfield Since 2011, the NEA has awarded more than $30 million to support 389 Our Town projects in all 50 states, the District of Columbia, and Puerto Rico. Via: National Endowment for the Arts

On your toes: Ballet Spartanburg celebrating 50th anniversary

Ballet Spartanburg receives a General Operating Support grant from the South Carolina Arts Commission. From the Spartanburg Herald-Journal Article by Dan Armonaitis; photo by Tim Kimzey

(Image: Spartanburg Ballet dance company principal dancers, from left, Nichola Montt, Will Scott, Analay Saiz, Will Robichaud, and Meghan Loman, rehearse at the Chapman Cultural Center in Spartanburg) When a group of 85 ballet enthusiasts and visionaries, led by the late Majorie Riggs, got together in 1966 to form what would later become known as Ballet Spartanburg, few could have imagined the tremendous growth the organization would experience over the next half-century. But as it celebrates its 50th anniversary during the 2016-17 season, Ballet Spartanburg has cemented its role as a key member of the city's thriving arts community. The nonprofit organization now has its own professional ballet company and a highly-regarded dance education program. It has also expanded its public outreach and continues to present multiple performances each year. "When it was chartered as the Ballet Guild of Spartanburg, the concept was basically just to be a presenting organization," Ballet Spartanburg executive director Teresa Hough said. "But over the years we've offered so much more." The 50th anniversary season kicked off with a family-friendly ballet, "The Little Mermaid," in October, and Ballet Spartanburg is gearing up now for its annual production of the holiday classic, "The Nutcracker," which will be performed Friday, Saturday and Dec. 11. The 2016-17 season will continue in February with an intimate performance, "Fire & Passion," which is part of Ballet Spartanburg's Studio Series. DanSynergy 9, with a theme of "Celebrating the Power of Women," will be presented in March, followed by "An American in Paris" in April. "Education certainly is a very important part of our mission and so is the outreach, but the high quality of the performances that we present to the audiences is also very important," said Carlos Agudelo, who has served as Ballet Spartanburg's artistic director since 1991. "We see the growing enthusiasm of the people who come to the performances — the standing ovations and just a lot of compliments — and it encourages us. "The thing we want to do with ballet is to explore social themes and other things that are relevant to our society, so, in general, we have to be creative, we have to be open to change and we have to be willing to develop new experiences." In its first few decades, Ballet Spartanburg presented performances by some of the most notable ballet companies in the world, including the National Ballet of Washington, D.C., Houston Ballet, Atlanta Ballet, and Pittsburgh Ballet Theatre. It also hosted a 1988 performance by international ballet superstar Rudolf Nureyev, who substituted for an injured Mikhail Baryshnikov. "I sat in the third row and I remember looking up at (Nureyev) and being like, 'I cannot believe this is happening,'" Hough said. "That was a major fundraiser, and it was just great." Since 2013, Ballet Spartanburg has had its own professional dance company, which has added a new dynamic to the performances and to the educational and public outreach aspects of the organization. The only professional dance company in the Upstate and one of only three in South Carolina, Ballet Spartanburg hires top-notch dancers from around the world to showcase their respective talents. "It's amazing that (Ballet Spartanburg) has been around for 50 years and that it's been so successful," said Nichola Montt, a Boston native and member of Ballet Spartanburg's professional company. "They've got a really great community here, and I think a lot of it has to do with the hard work that Carlos and (ballet mistress) Lona (Gomez) put into it." Having its own professional company allows Ballet Spartanburg to present high-quality performances without having to hire outside professionals as it did previously. Now, the students at the Center for Dance Education have an opportunity to work with professional dancers on a regular basis as opposed to only a few days before a public performance as had been the case. "The fact that my 6- and 4-year-old daughters, Wallace and Harriet, get to work with professional ballet dancers in Spartanburg is a huge deal," said Griffin Lynch, who served as president of Ballet Spartanburg from 2012-2014 and took classes with the Dance Center as a youth. Referring to one of Ballet Spartanburg's professional dancers, Lynch added, "Miss Analay (Saiz), who played 'The Little Mermaid,' is both girls' teacher, and for them to be able to sit in the audience and watch their teacher on stage in that role is really inspiring." Will Robichaud, who grew up in Woodruff and took classes at the Dance Center for much of his youth, was recently added to Ballet Spartanburg's roster of professional dancers. He initially got into dance by following in the footsteps of his older sister, Natalie, who is now a business professional in Brooklyn, N.Y. "The discipline that they taught us when we were really young has definitely stuck with us," Robichaud said. Robichaud's mother, Amy, said the lessons her children learned from Ballet Spartanburg can be carried throughout life. "When our daughter, Natalie, started an entry-level job, she said she remembered Carlos saying, 'there is no small part, everybody has to do their own part,'" Amy Robichaud recalled. "And when Will went to study with Pittsburgh Ballet Theatre, he had not only very sound technical training but he also had an appreciation for the hard work you have to put into it." The vision for the Center for Dance Education started in 1967 when the late Barbara Ferguson began teaching ballet classes. The actual dance school opened in 1976. Now, nearly 400 students, from toddlers to senior citizens, study dance through programs offered by the Center for Dance Education. Gomez said one of the reasons for the school's success is its emphasis on teaching dance in a non-competitive environment. "In this day and age, children are used to very quick rewards," said Gomez, who is in her 22nd season with Ballet Spartanburg. "Here, we want them to understand that it's a journey. Not everybody advances at the same pace. "It's about learning things slowly and mastering them, and then when you have mastered them, you go on to the next level. You're not supposed to compare yourself to the person next to you. We try to celebrate their individuality." The classroom methods used by Gomez and Agudelo seem to be effective, given the success of many of the Center for Dance Education's alumni. Among those who have gone on to pursue ballet as a career are McGee Maddox, now a principal dancer with the National Ballet of Canada, and Chase Brock, now a prolific choreographer whose credits include the Broadway musical "Spider-Man: Turn off the Dark." "Our goal is to develop the students' full potential and give them opportunities to perform," Agudelo said, "but we also want to develop their kinesthetic intelligence, which facilitates other academic forms of learning and teaches life skills." Throughout the years, Ballet Spartanburg has continued to increase its public outreach. The organization works with area schools, offering ballet demonstrations and a free annual performance of "Peter and the Wolf" while also providing summer programs for at-risk youths in inner-city housing projects and at the Boys and Girls Club of the Upstate. Ballet Spartanburg gives performances at nursing homes, hospitals, and various community events while also offering classes for students with special needs, including Parkinson's disease patients. And three years ago, it began presenting a sensory-sensitive production of "The Nutcracker," geared primarily to students from the South Carolina School for the Deaf and the Blind. "My wife Roberta and I are in health care, and their Parkinson's class is something that's truly amazing," said Tom Jennings, who served as president of Ballet Spartanburg from 1996-1998. "They're one of the few ballet companies in the United States that do these classes, and that's probably one of the things I'm most delighted about." Ballet Spartanburg is housed in the Chapman Cultural Center. "We are not a huge metropolis where you'd normally find a ballet company, so it's really special what we have here," said Chapman Cultural Center president and CEO Jennifer Evins, who was a Ballet Spartanburg board member in the mid-1990s. "It's pretty rare to have dance presented four or five times a year in a city our size, but I think it's a reflection of our entire community and how we value the arts." Hough said Ballet Spartanburg, as a nonprofit, would not have endured for the past 50 years without the support of corporate sponsors and individual donors. "We're extremely fortunate to have so many people who believe in what we're trying to accomplish," she said. "We're all about culture, we're about diversity, we're about collaborations, and we're about creativity. We're not about just being a teeny, tiny little school that's just for the served; we're for the underserved and for bringing in those who might not otherwise have the opportunity to dance." For more information about Ballet Spartanburg, the Center for Dance Education, and upcoming performances visit www.balletspartanburg.org.

Arts Education Project grants available for after-school programs, artist residencies, planning, etc.

Application deadline is January 18, 2017, for funding beginning July 1, 2017. The South Carolina Arts Commission invites applications for 2017 Arts Education Project Grants (AEP) to support well-developed arts education programs and projects in both traditional arts education settings (schools, arts organizations) and other organizations that use the arts to advance learning (social service, health, community, education or other organizations). Funded projects and programs can take place in school, after school or over the summer. Grants of up to $15,000 are available (grantees must match their grant 1:1). Most S.C. schools, nonprofit organizations (arts and non-arts), colleges and universities, and units of government are eligible to apply. (ABC sites are not eligible.) Partnerships are especially encouraged. Individual artists wishing to implement K-12 arts projects should partner with an eligible school or organization that will serve as the applicant and project administrator. Examples of eligible activities include, but are not limited to:

  • After-school classes
  • Workshops
  • Camps
  • Artist residencies
  • Public art projects
  • Performances
  • Exhibitions
  • Acquisition of critical equipment or supplies
  • Program planning
  • Professional development for instructors, artists and/or administrators
This grant program was developed based on the work by the 2014 Arts Education Task Force, which was created to respond to new research and a new climate for education and arts education reform in South Carolina. One of the opportunities identified by the task force is to offer new arts education funding and join with new community partners and afterschool/summer program providers to extend the reach of arts education funding. Read the complete guidelines and application instructions online. Your county coordinator is available to answer additional questions. The application deadline is January 18, 2017.

Boston’s Barr Foundation seeks program officer for arts and creativity

barr-foundation Application deadline is December 12 The Boston-based Barr Foundation is seeking a senior program officer to play a significant role at an exciting time of growth for its Arts and Creativity Program. In 2016, the program launched its three new strategies; expanded its geographic footprint from a focus on Boston alone to all of Massachusetts, with additional, targeted investments in New England and nationally; and has thus far invested $16 million toward these new priorities. The senior program officer will focus on implementing two strategies in particular: advancing the field’s capacity to adapt, take risks, and engage changing audiences in new ways; and fostering opportunities to connect the arts to other disciplines and sectors. The ideal candidate will have a track record of expertise in the arts, deep community involvement, rigorous organizational assessment, and a passion for the Barr Foundation’s mission and values. He or she will have unimpeachable integrity and be an energetic, flexible self-starter and team player. Applications will be reviewed on a rolling basis, and accepted up until December 12, 2016. Only applications submitted online will be considered. Read the complete job description and application instructions. About The Barr Foundation The Barr Foundation’s mission is to invest in human, natural, and creative potential, serving as thoughtful stewards and catalysts. As stewards, we nurture and enhance vital community assets. As catalysts, we cultivate and advance the breakthrough ideas that will shape our collective future. In all that we do, we focus on achieving impact as a constructive partner, willing to exercise leadership. Based in Boston, Barr focuses regionally, and selectively engages nationally, working in partnership with nonprofits, foundations, the public sector, and civic and business leaders to elevate the arts and creative expression, advance solutions for climate change, and expand educational opportunity. The Barr Foundation is one of the largest private foundations in New England, with assets of more than $1.6 billion and annual grantmaking in 2016 of $70 million.

Furman Music Professor Mark Kilstofte receives coveted Copland House Award

Note: Mark Kilstofte received South Carolina Arts Commission Music Composition Fellowships in 2001 and 2012. Furman University Music Professor Mark Kilstofte has received a 2016 Copland House Residency Award. The award was granted to nine gifted American composers from nine states, and marks Kilstofte’s fourth time to be honored by Copland House. The Copland House prize consists of an all-expense-paid stay at Aaron Copland's National Historic Landmark home in New York's Lower Hudson Valley. The honor provides composers the opportunity to focus on their creative work in the same inspiring environment enjoyed by Copland himself for the last 30 years of his life. The honorees were selected out of nearly 100 applicants from 25 states by a jury including composers Pierre Jalbert (a two-time Copland House Resident), Carman Moore, and Robert Sirota (Former-President of the Manhattan School of Music). On an individual basis, the Residents will live and work for three to eight weeks in the prairie-style, hilltop house near New York City that Copland called "my hideaway, my solitude," and was his home from 1960 to 1990. In addition to three previous Copland House Residency Awards, Kilstofte's honors include the Rome Prize, Guggenheim and Fulbright Fellowships, ASCAP's Rudolf Nissim Prize, and the Goddard Lieberson Fellowship and Charles Ives Scholarship from the American Academy of Arts and Letters. His music has been featured on NPR's “Performance Today” and “From the Top” and performed by the Santa Fe Desert Chorale, New York Virtuoso Singers, New Amsterdam Singers, and Dale Warland Singers. His song cycle, "The White Album" (commissioned by the Fromm Foundation and developed during a previous Copland House Residency), will be premiered by Musiqa (Houston) this January. As a Copland House Resident, Kilstofte will become eligible for post-residency awards, commissions, and various performance and recording opportunities from the Music from Copland House ensemble. Possibilities include the Sylvia Goldstein Award, Borromeo String Quartet Award, Hoff-Barthelson Music School Commission, and others. He is a graduate of St. Olaf College and the University of Michigan where he was a Rackham Predoctoral Fellow. A resident of Greenville, Kilstofte teaches music composition and theory at Furman, and is guest researcher at the University of Oslo's Center for Ibsen Studies, where he is writing an opera based on Ibsen's "Brand." An official project of the federal Save America's Treasures program, Copland House is the only composer's home in the United States devoted to nurturing and renewing America's rich musical heritage through a broad range of public, educational, musical, and electronic-media activities that embrace the entire creative process. Additional information about Copland House can be found at www.coplandhouse.org. For more information, contact the Furman News and Media Relations office at (864) 294-3107.

Rusty Sox retires from the South Carolina Arts Commission

Rusty Sox Photo by Emily Brown Another familiar face has left the building. After 16 years, Senior Manager Rusty Sox has retired from the South Carolina Arts Commission effective November 30. His expertise and leadership will be missed, as will his generosity and sense of humor. Sox had a hand in the success of nearly all agency programs, from managing the Elizabeth O'Neill Verner Governor's Awards for the Arts and the Cultural Districts program, to updating and implementing the strategic plan and streamlining grants processes. We wish him much success in this new phase of life! Three staff members will serve as coordinators for counties previously assigned to Sox: Cathy Lee - Aiken, Edgefield and Saluda counties; La Ruchala Murphy - Abbeville, Greenwood and McCormick counties; and Harriett Green - Anderson County. For more information about whom to contact, check the Arts Commission Staff Directory, or call (803) 734-8696.

South Arts hosting grants webinar for performing and literary organizations

South Arts invites nonprofit performing arts and literary arts organizations to take part in a free webinar December 7 at 11 a.m. EST to review updated 2017-2018 guidelines for Regional and Literary grant applications. Grant deadlines are in March and May. The webinar will cover these topics:

  • South Arts’ priorities: understand how the scoring works
  • Readiness plans: find out what’s needed and how your REQUIRED plan will be evaluated
  • Accessibility: hear more about South Arts’ expectations
Find out more about South Arts grants and how to join the webinar. Via: South Arts  

Brosius to leave Columbia Museum of Art for new opportunity 

Karen BrosiusColumbia Museum of Art Executive Director Karen Brosius informed board members and staff today of her acceptance of the president position with a national nonprofit organization in early 2017. “It has been wonderful working here in South Carolina and with the talented staff at the CMA,” says Brosius. “I love this museum and this community. Together, our collective team has achieved many great accomplishments, so I leave secure in the incredible future this organization has ahead of it.” Under Brosius’ 12-year leadership, the CMA has transformed into a vibrant, essential institution and a jewel in the cultural life of Columbia and the State of South Carolina. Her vision gave rise to a dramatic increase in landmark exhibitions, signature art works and major collections, family-friendly programming, arts education outreach and innovation, and state and national renown. She stabilized finances early on, more than doubled the museum’s annual budget, and tripled its endowment. This year, the museum received accolades as the recipient of the 2016 Elizabeth O’Neill Verner Governor’s Arts Award in South Carolina- the only museum to have ever won this award twice- as well as the 2016 National Medal for Museum and Library Service, America’s highest honor given to a museum and awarded at the White House in June. “This year’s National Medal recipients show the transforming role of museums and libraries from educational destinations to full-fledged community partners and anchors,” says Dr. Kathryn K. Matthew, director of the Institute of Museum and Library Services. “We are proud to recognize the extraordinary institutions that play an essential role in reaching underserved populations and catalyzing new opportunities for active local involvement.” As the CMA’s executive director, Brosius has brought great dynamism to the museum after its relocation to Main Street in 1998 and championed the creativity and vision that are the hallmarks of all of the museum’s activities. She has been widely recognized for her achievements in Columbia including receiving the Chairman’s Award from City Center Partnership, the Excellence in Community Leadership Award from the Greater Columbia Chamber of Commerce, the Palmetto Center for Women Award for service to the community, and the Woman of Distinction Award from the Girl Scouts of the Congaree, among others, and for her board leadership in civic and cultural organizations across the city and state. Her career at the CMA culminates in the achievement of a successful five-year capital campaign – the first one since the museum moved into its new Main Street location – an important next step for the museum to strengthen its future and fund new initiatives and renovation plans, which will begin in 2017. “As we have reached our campaign objectives with great support from the community, the museum is well-poised for unveiling its next exciting phase, which centers around three main goals: meet the growing demand of our audience through expansion of the galleries and education spaces, transform the museum through strategic projects meant to make a difference for our audience and community, and strengthen our financial core through the crucial growth of our endowment and the stability it provides in perpetuity,” says Brosius. The CMA has flourished into an organization that gives back to its community in many ways and welcomes people from around the state and country as well as from overseas. The museum currently generates more than $23 million in economic activity annually and supports more than 370 jobs in the Columbia area alone, according to findings in its most recent independent impact study. “Karen leaves us with much love and respect for the way she has grown and transformed the CMA into a gem in Columbia and cornerstone of activity and community engagement in the Midlands,” says CMA board chair Scott R. McClelland. “She has made an extraordinary difference in the arts, cultural, and education community in South Carolina. She has achieved amazing things for us here at the CMA and I’m sure will be an incredible asset in her new role.” The CMA board will hire a search firm with expertise in the arts and anticipates selecting a firm and starting the search process in the first quarter of 2017. “We’re going to take the right amount of time to identify the candidate who will lead the next chapter in the CMA’s future and continue to expand our offerings and engage people in loving art and its role in a vibrant, healthy community,” says McClelland. Via: Columbia Museum of Art

Columbia’s Nickelodeon Theatre seeks theatre director

nickelodeon-header-300Application deadline: December 12 The Columbia Film Society is looking for a dynamic, forward-thinking leader to join one of the most creative and hard working teams in the art house cinema sector. Created in response to the organization’s rapid growth, the Nickelodeon theatre director position will oversee the programming, marketing, operations and staff of the Nickelodeon Theatre. The primary artistic leader for the exhibition arm of the Columbia Film Society, the Nickelodeon director serves as the public face for the Nick’s retail organization. The Nickelodeon director reports to the CEO of the Columbia Film Society and serves on the senior leadership team along with the Indie Grits Labs director, the development manager and the CEO. Primary Responsibilities Programming: Shaping the artistic vision for the Nickelodeon Theatre, the Nickelodeon theatre director works with the programming staff, film buyer, and community members to program both screens of the Nick throughout the year, including:

  • Managing programming coordinators
  • With programming team, developing and maintaining five-year programming plan for special series and festivals
  • Overseeing the development of six to eight curated film series each fiscal year
  • Maintaining regular contact with film buyer to ensure high-quality first-run programming
  • With programming and marketing teams, establishing and communicating weekly screening times
  • Seeking out opportunities for special screenings of particular interest to our community
  • Ensuring programming calendar is regularly shared and understood throughout the organization
  • Staying abreast of trends in the independent cinema sector
Marketing: With two screens operating 365 days a year, the Nickelodeon theatre director will oversee efforts to effectively communicate the richness of the Nick’s programming to local, regional and national audiences, by:
  • Developing and implementing innovative and effective strategies for promoting the Nickelodeon’s programming – including first-run independent films, special series and screenings
  • Managing designer/interactive coordinator, marketing manager and other marketing support staff
  • Maintaining a yearly marketing calendar for special series, Nick Mags and special events
  • Working with the senior leadership team to implement innovative institutional marketing spikes that raise general awareness of the organization
  • Ensuring Nickelodeon messaging is effectively communicated through excellent customer service experiences online, over the phone, in-person, and in the lobby
  • Measuring and reporting outcomes of marketing efforts
Finance and Operations: Protecting and managing the physical and fiscal assets of the Nickelodeon is essential to ensuring the organization fulfills its mission. The Nickelodeon Theatre director will oversee the finances and operations of the organization, including:
  • Managing the operations manager and bookkeeper
  • Developing and managing the annual operating budget for the Nickelodeon Theatre, in coordination with the senior leadership team
  • Managing the day-to-day and long term finances of the Nickelodeon Theatre
  • Overseeing and approving quarterly finance reports for board meetings
  • Overseeing annual audit process
  • Overseeing the upkeep and maintenance of theater facilities and equipment, including work done by third party contractors
  • Ensuring the Nickelodeon is in compliance with necessary state and local licenses, taxes, and other government filings
  • Annually reviewing organization’s insurance policies to ensure sufficient coverage
Find a complete list of duties, qualifications and application instructions online. The application deadline is December 12 at 5 p.m. EST. About the organization The Columbia Film Society’s Nickelodeon Theatre serves Columbia, South Carolina, as a center for critical dialogue, anchored by the presentation of films that showcase the diversity, challenges, joy and aspiration of its community. A destination for enjoyment, enrichment, and education, the Nick provides the tools to make, interpret, appreciate, and teach the moving image in all its variety. Founded in 1979, the Nickelodeon is South Carolina’s only non-profit arthouse cinema.

Free webinar for artists: find out more about Artists Ventures Initiative Grants

Webinar scheduled for December 2 Barbara Streeter Barbara Streeter of Conway, a previous AVI grant recipient Are you a professional-caliber artist or an artist collaborative with an arts-based business idea? Or, have you launched an arts-based business that needs a bit more lift? The S.C. Artists’ Ventures Initiative (AVI), a broad-reaching project at the South Carolina Arts Commission, may be just right for you. AVI grantees may be awarded up to $3,500 for a one-time project/single purchase in support of an arts-based business. An ongoing arts-based business venture may be awarded up to $5,000. Join us for a free webinar to learn more about the grant and the first step in the process, the all-important Letter of Intent, which is due January 11, 2017. (The deadline for AVI Letters of Intent is January 11, 2017. You do not have to participate in the webinar in order to submit a Letter of Intent.) Topics to be covered:

  • Learn about the S.C. Artists Ventures Initiative
  • Walk through the process of completing the online Letter of Intent
  • Hear from recent AVI grant recipient(s)
  • Ask questions
When: December 2, 2016
Time: 7:15 – 8:30 p.m.
Where: Online — you will receive log-in information two days before the webinar. You will need access to the Internet and a telephone to see and hear the presentation.
RSVP: This webinar is free, but you must register online in order to attend and to receive webinar log-in information. The registration password is AVI.
  Questions? Email Joy Young, jyoung@arts.sc.gov.