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25 November 2010 Performing arts surviving across county by Shelly Mato Cultural opportunities, including live entertainment– music, theatre, and dance – comprise one measure of quality of life in a community. However, at a time when the local, state, and national economies continue to reel from the global recession, budget shortfalls hit all sectors, and economic uncertainty plagues individuals and municipalities alike, the arts often become a hardhit and fragile portion of community life. The arts community in Centre County is suffering some of that pain, yet showing its resilience at the same time. Nonprofit performance venues and programs depend in part of public funding sources such as state and federal grants, and many of these monies have dwindled in recent state budgets. Arts programs have seen significant cuts in the past several years, and face still more in the 2010-2011 budget. Grants to the arts has been reduced by an additional $2.6 million for this year and overall funding for the arts has declined by 42 percent over the past two years. This means that both for-profit and nonprofit acts and venues must compete for the same pools of money, these being corporate and foundation sponsors, individual donations and patronage through memberships, ticket sales and cover charges. At the same time, Americans are spending less on entertainment. In 2009 alone, average spending by American families on all forms of entertainment dropped by 5 percent, according to the United States Department of Labor’s Bureau of Statistics. Live performance competes with all other forms of entertainment – including sports, movies, television, and gaming – for dwindling disposable dollars. “Every nonprofit is struggling,” said Kristy Cyone, marketing and membership director for The State Theatre. “Yet we are in no worse situation than we have been since we reopened.” State Theatre, a nonprofit community theatre since 2006, seeks to provide a performance space for a wide variety of local and national acts, filling a perceived need to provide a venue with state-of-the art technical support. Cyone admits that donations are down a little, but that is only because of the success of the fundraising efforts for start-up donations back in 2006. Corporate and individual giving has decreased and new giving has been difficult, she said. However, ticket sales have remained strong, despite the economy, said Cyone. She explained that the theatre is in somewhat of a unique position in terms of financial growth. “When we reopened in 2006, the economy was already beginning its downward turn. We started with low attendance,” she said, “and we are still pacing upwards.” David Shaffer, the Center for the Performing Arts Assistant Director for Special Programs, noted that decreased state support means the center must rely more and more on private support from individuals, but that the support has been Photo by Suzan Erem The Guy Mendilow Band recently performed at WPSU studios, but was booked by the nonprofit Acoustic Brew which often uses the Center for Well Being in Lemont as a venue for performances. there. “Membership support is strong and subscription sales are strong,” said Shaffer. “That is a very strong vote of confidence.” Susan Riddiford-Shedd, Artistic Director of the Nittany Valley Shakespeare Festival, said there is significant support in the county for live performance. The festival enjoys support from Centre Region Parks and Recreation, as well as some corporate and foundation support, but Riddiford-Shedd noted that it is not easy to find funding. Our attendance has been astounding,” she sadi, but that does not pay the bills since performances of NVS are free. “It’s always been tough on the arts,” she said, “but artists are a scrappy bunch. We find a way see Arts, pg. 26 The magic marbling of Diane Maurer-Mathison by Veronica Winters Diane Maurer-Mathison is an internationally renowned, expert marbling artist. Originating in Japan, marbling is the ancient art of floating colors on a liquid mixture of water and, in this case, Carrageenan, an Irish seaweed, arranging the colors to form a design and capturing the image by making a contact print. Maurer-Mathison uses gouache-based watercolor paints to create swirling, abstract and vibrant patterns that are some- In the studio times reminiscent of flowers, leaves, waves, or other forms. In order for paper to accept the colorful paint patterns that float on top of water in a tray, the artist uses special solutions. The room’s temperature and humidity are carefully regulated along with paint and water characteristics. The artist uses handmade rakes, fine combs, bamboo brushes and even cats’ whiskers to swirl floating paint designs in the tray. She then places a sheet of paper onto the surface of the marbling liquid and paint, lifts it off, and lays marbled paper out to dry. Besides traditional paper marbling, Maurer-Mathison also hand-marbles papers with oil paints, acrylics and dyes using special techniques to execute marbling on fabric and objects. This technique originated in Japan over 800 years ago. The growth of marbling was accelerated in Europe and America when in 1894 Joseph Halfer of Budapest published a work which simplified the marbling process. That book, translated into several languages, was published in America as "The Progress of the Marbling Art.” Mauer-Mathison was introduced to the art of marbling in late 1970s by one of her artist friends. As a writer as well as a fiber artist at that time, she wanted to gather see Marbling, pg. 29 26 from November 2010 Arts, pg. 25 to do it.” For performance groups and venues in Centre County, finding a way to do it means being innovative and willing to change. The State Theatre is in the midst of exploring new directions as they seek a new executive director with the departure of Mike Negra, who had run it since its resurrection. The State is planning to put more emphasis on community involvement by working to make the theatre more accessible to local performance groups and bringing in more local musicians, explained past board member Roy Love, who has become involved in the theatre once again. “In general, we will show more of a willingness to ask local groups how we can make this possible,” he said. The State’s administrators and board have eliminated the set rate for use of the space and have made the rental charge negotiable. For example, they recently worked out a deal to make the theatre the home for a local studio. Heidi Biever of Singing on Stage said they previously staged performances at the Fairmount School but that the State College Area School District increased rental fees for its facilities by 500 percent. Having all of their performances at State Theatre provides them a state-of-the-arts theatre at less cost. “We will be creatively using the theatre with the community,” said Love. The State Theatre supports local groups by allowing ticket sales for national touring acts to defer costs for local groups. “Anything that you support here goes back to support local performing arts,” said Cyone. She explained that while that has always been a goal for the theatre, the ratio of national to local groups has not always been what they have wanted it to be, and that the search for a new director provides an opportunity to rethink what they have done in the past. Love concurred. “We can expand the potential for diversity in programming,” he said, by allowing those things that bring in more money in ticket sales to offset the cost of things like world music, jazz, and local performers. Innovation is also coming from the artists themselves. One such new venture comes in the form of a regional theatre arts alliance. The idea originated within the “It’s always been tough on the arts, but artists are a scrappy bunch. We find a way to do it.” --Susan Riddiford-Shedd Professional Actors Workshop, and especially with Charles and Jo Dumas who witnessed the success of a similar consortium in Philadelphia. “We want to streamline a mechanism for sharing resources for local theatre groups,” said Will Snyder, Director of Sozo Institute for the Arts, who is now spearheading the effort to get the alliance up and running. In initial meetings to gauge level of interest, Snyder said, “most people expressed the same frustration, how to coordinate resources and the find the best methods of communication.” The alliance as it is envisioned at this point will include both school and community groups throughout the Centre Region. It hopes to build an avenue for joint marketing opportunities, posting auditions and events, coordinating schedules in order to limit competition for the same audiences, and sharing resources such as sets and costumes. “We hope to make this a forum for bringing the arts community help in developing the arts and culture in our region, which in turn helps each of our communities,” said Snyder. Groups initially expressing an interest in forming the alliance represent the area’s diversity in the performance arts, including Penns Valley and Lewistown school districts, the Art Alliance of Central Pennsylvania, the Nittany Valley Shakespeare Festival, The Next Stage, Tempest Studio in Bellefonte and Singing on Stage. Organizations have responded to the need for creative solutions by broadening their missions, as the State Theatre has done in providing more access to local groups. The Center for the Performing Arts at Penn State also boasts a broad-based mission to reach out to both the campus and the surrounding see Arts, pg. 27 Photo courtesy of Margaret Cieply Singing on Stage, which until recently trained actors of all ages, produced shows around the county, including this June 2010 production of Oliver! at the State Theatre. THISFALL@THESTATE AND MORE ON THEIR WAY! SIGN UP FOR OUR EMAIL UPDATES! StateTickets.org for the most up to date information 27 November 2010 from Arts, pg. 26 communities. “We are blessed with a passionate and committed audience,” said Director George Trudeau. Nonetheless, the center, which operates Schwab and Eisenhower auditoriums, still works to increase its audience base among both students and area residents. “We are top among our colleagues in terms of student audience participation,” said Laura Sullivan, Director of Marketing and Communications. Students account for 37 percent of audiences overall, leading other venues among the Major University Presenters, a consortium of 14 major performing arts university presenters. Trudeau said the center also focuses on its educational program in order to provide a theatre-going experience to more elementary and secondary school students. Trudeau and his staff work with national acts appearing on their stages to stay an extra day and perform for school groups. They offer some half dozen or so schooltime matinees to schools from 20 counties, giving thousands of children the chance to see live performance, many for the first time, he said. Other area venues look to increase audiences as well to offset some losses in public funding or to broaden a mission. Penn State’s Institute for the Arts and Humanities hopes to raise its visibility to the local community, according to Director Michael Berube. The institute sponsors lectures, film festivals, music and dance performances, symposiums, and conferences. “It is a question of who we target,” said Berube of attempts to engage more undergraduate students and the general public in their events. “The long-term mission is to understand how the institute contributes to the intellectual life of the local community and to lifelong learning processes,” he said. Support for the arts depends on sponsor- Photo by Chris Nelson Susan Riddiford-Shedd and Wilson Hutton perform in the Next Stage production of Educating Rita. The company now presents most of its plays in the studio on the upper floor of the State Theatre in State College, which is broadening its mission to make more room for local performers. “It’s not like the ‘30s when people stopped going to concerts. Now people seem to be keeping up with experience consumption and cutting back on other non-necessities.” --Economist Richard Florida ship by individuals, corporations, and foundations as well as from patrons. Over the past decade, corporate donations to the arts has dropped by more than half, according to the Giving USA Foundation, an educational and research program of the American Association of Fundraising Counsel. This has had a dire impact on the performing arts on a national scale as concert, theatrical productions, and even entire performance seasons have been cancelled in recent years. Robert Lynch, CEO of the nonprofit Americans for the Arts, estimated that some 10,000 arts organizations have closed up shop, representing about 10 percent of the total. Locally, however, sponsors are still coming through. Shaffer said the Center for the Performing Arts relies more and more on private support from individuals. “Every year there are a couple of new sponsors, including some unique one-time sponsors,” he said. For example, last year a woman sponsored a show in celebration of her fiftieth birthday. “Yet some 90 percent of our sponsors are returning sponsors,” he said. Cyone admits that the State Theatre struggles to secure sponsors as corporate and individual giving is down somewhat. In this economic slump, she said, “people are slimming down donations, and entertainment venues are just not a top priority.” This is particularly problematic for the State as they still have a sizable debt to pay down, she said. In Centre County then the nonprofit and public for-profit organizations providing performance venues for the arts seem to be holding their own in this tough economy. Patronage has remained especially strong, and this too follows a national trend. In the past five years, Americans spent less time buying goods and services and more time taking part in activities, including attending cultural events, according to the U.S. see Arts, pg. 28 28 from November 2010 Arts, pg. 29 Department of Labor. “It’s a different kind of recession,” writes economist Richard Florida, author of several books on urban life. “It’s not like the ’30s when people stopped going to concerts. Now people seem to be keeping up with experience consumption and cutting back on other non-necessities.” Acoustic Brew Coffeehouse, a nonprofit concert series, is unique in the area for not having a specific venue for their shows, although many shows take place at the Center for Well Being, with larger shows at the WPSU studios. The mission of Acoustic Brew is to provide reasonably-priced quality folk and acoustic music in an intimate, alcohol-free environment. “I love the felxiblity to schedule performers where they will be the best fit, and not being tied down to one venue,” said board member Sally Driscoll. Acoustic Brew concerts enjoyed very strong patronage in the past, often selling out shows, but attendance has dropped in the past couple of years. Board member Mel DeYoung blames not the economy but increased competition for the drop in ticket sales. “For quite a few years we were one of the few organizations that presented folk music in the area. In the past few years we have seen a number of other venues begin to present the same kind of performers we do,” said DeYoung. “The soft ticket demand we’re experiencing now is more typical of concert presenters across the region and the country.” The decline in attendance has hurt Acoustic Brew financially. “The pain we are experiencing now is that we have based our finances almost completely on ticket sales, rather than grants, memberships, and other non-ticket revenues,” said DeYoung. “If we are going to avoid deficit spending going forward, we will either need to return to stronger ticket sales, or rely more on nonticket revenues.” “The reason we’ve been able to survive for almost 20 years is the hard work of all the volunteers,” said Publicity Director Jim Colbert. “Nobody on our board or working the shows receives a cent for doing so. It’s a hardcored, dedicated group who really believe strongly in the music, and our mission.” Unlike Acoustic Brew which has no home venue, Wagon Wheel Music Park in Philipsburg boasts a rough wooden stage in a hollow-nestled ampitheatre. Wagon Wheel shows run through the summer months, and comprise everything from rock to bluegrass to country. Most groups contact Wagon Wheel in order to be able to play in a space with such unique and inspirting acoustics. “We had a new one,” said Jim Berbeck. “A jazz group called and wants to play here.” Wagon Wheel pays its expenses, including musicians’ fees, through sponsors who purchase ads in their programs and through ticket sales for some bands. They also hold a fundraising concert each summer, with proceeds going to a fund for local cancer patients. Wagon Wheel is in its sixth year, and Berbeck said attendance is still growing. The ampitheatre could easily hold an audience of 3,000 people, he said, but their largest turnouts hare between 500 and 600. Even with ad sponsors, food concessions, and growing ticket sales, it can be tough going. “You don’t quit your day job,” said Berbeck. Other venues for live entertainment must rely solely on either ticket sales, cover charges, or revenues from food and drink to cover costs for live entertainment. Tim Bowser, proprietor of the Elk Creek Cafe in Millheim, said he is pleased with the turnout they get. “We have a solid crowd,“ said Bowser. Elk Creek has some form of live entertainment most nights from Thursday through Sunday. Bowser pointed out that the goal is to explore different kinds of music or unknown bands, allowing audiences to experience authentic music. Musical genres span the gambit from bluegrass to rock to blues. “Jazz was lower attended at first, but we are starting to get a following for that too,” said Bowser. Thursdays offer a “pub hang” according to Bowser, with local musicians perfoming for the tips froma jar. “At this point we’re getting a good crowd; it’s finally taking,” he said. He noted that musicians contact Elk Creek in order to be able to try out something new in a low-risk setting at the Thursday night sessions. Saturdays and most Sundays more wellknown bands appear on the Elk Creek stage, and that usually involves a cover charge. Saturday crowds are very strong, said Bowser, but “Sundays can be hit or miss.” “It is my impression that the turnout has continued to grow over the past couple of years,” said Nick Brink, of Elk Creek. Both Bowser and Brink note that the size of the audience varies depending on the night of the week and the genre of music. Other area night spots for live music see the same thing. “We feature live entertainment four nights a week,” said Kimberly Korman at the Autoport, and audiences continue to grow. “I have heard it again and again that the Autoport is the best place for someone who is not 20-something to dance, let loose, and have fun,” she said. And what about those scenes for the 20something crowd? Bars, pubs and restaurants in the area report that most nights the crwods are still good, especially for major acts. Audiences are stronger for rock and indy-rock than for musical genres less popular with the younger crowd, such as jazz and folk. On any given night, patrons can hear live music somewhere in Centre County, from Bellefonte’s Governor’s Pub to pubs and restaurants from Philipsburg to Pleasant Gap. State College alone boasts over 20 such venues, and all appear to be enjoying strong patron support. Public monies for the arts, in terms of state and federal funds, continue to decline, but in Centre County the effects have not been dire, at least for the organizations and venues that provide space for performing artists. While national touring acts appear on many area stages, home-grown talent enjoys great support in the area. “There are so many diamonds, and we want to feature them in performance,” said Cyone of the State Theatre. Yet the continued livelihood of arts venues and performers themselves in our area relies heavily on local support. According to Cyone, “It’s a question of have you really jumped out of your everyday routine to see what the area has to offer in the arts.” 29 November 2010 from Marbling, pg. 25 information on paper marbling for her next manuscript. As a result, the artist published “A complete guide to producing beautiful patterned papers and fabrics” in 1991. Maurer-Mathison learned the craft from two sources. The artist relied on the precise instructions of 1853 book titled “The Art of Marbling” by English Master Charles Woolnough, and then sought input from American paper-artists with whom she was acquainted. This artist particularly enjoys marbling fabric with acrylic paints, making exceptional, beautiful scarves for women to wear. Maurer-Mathison actually double marbles them to create a more abstract design with fluid overlays of glittering and opaque colors. With smaller pieces of fabric she creates frames and little, handbound accordion-fold books. This type of hand-marbled art on fabric is featured locally at the Gallery Shop in Lemont. To create her small, dream-like collages, including “Valley View,” the artist uses her variously marbled papers. She cuts them, each layer representing a particular object: variously colored and textured paper strips of mountain ranges, warm and cool greens of the land, blues and whites of the sky, glowing colors of the moon and the sun, deep blues and greens of streams and oceans. The artist works from her imagination and never uses photos to find inspiration. On the contrary, she is moved by the streams, mountains and valleys of the central Pennsylvania region. “I can get inspired by the waves of the ocean, lush, green mosses and even my own garden,” she said. Occasionally, she travels farther to find her muse, creating landscapes based on her feelings and experiences. “Absorbing the beauty of other locations during my trips to Alaska, Indonesia and Hawaii as well as the Southwest have also led to many collages,” Maurer-Mathison said. A self-described perfectionist, MaurerMathison works on her art with passion and does not leave room for even tiny mistakes in her marbled paper. When she was commissioned to hand marble a 24- by 48inch piece of paper for Godiva Chocolates “I learned as long as I extended myslef, made myself available and my work visible, good things would come my way.” --Diane Maurer-Mathison Christmas cover boxes and wrapping paper, Maurer-Mathison marbled over 60 sheets of paper to arrive at a single, perfectly marbled piece. She also created special paper designs for Lenox China and her decorative papers have been reproduced by a number of magazine and book publishers, including Harper Collins Publishers and Penn State. Eventually, Maurer-Mathison’s designs found their way onto perfume bottles, medicine packages, brochures and stationary. Her most recent, award-winning work on dimensional paper collage combines marbling and paste paper design with other decorative paper techniques. MaurerMathison’s neatly-looking, hand-bound, small collage books are enigmatic. They are accordion-folded and when opened, the heavy pages introduce viewers to other realms. With titles like “Fantasy Gardens” and “Fantasy Landscapes” the books illustrate an artistic journey into special, unknown-to-man places. “These are fantasy pieces. They are expressions of dreamscapes,” MaurerMathison said. These paper collages look very threedimensional because the artist doesn’t glue one layer over the next one completely. Rather, Maurer-Mathison leaves some spaces in between her layered pieces of paper, creating that extra dimension. Maurer-Mathison has taught design techniques and paper marbling at many art centers and schools, such as the Erie Art Museum, Historic Rittenhouse Town in Philadelphia, the Smithsonian Institution in Washington D.C, and The Penland School and others. She also likes to share her skill with younger generations of artists, working as a resident artist in public schools through the Galaxy: Arts in Photo provided Diane Maurer-Mathison using traditional marbling technique in her studio. Maurer-Mathison uses marbling to create papers, books, and fabric scarves. Education Program. Maurer-Mathison shows how to create not only collages and paper marbling, but also marbled note cards, folios, picture frames and jewelry. “I learned as long as I extended myself, made myself available and my work visible, good things would come my way,” she said. With 13 books published, MaurerMathison has made a name for herself in the arts community. She was invited as a guest artist on several TV shows: “The Carol Duvall Show”, “Home Matters” and her latest “Martha Stewart Living” in 2002. Some of her books are out of print today, selling for over $150 per copy on booksellers’ websites. Maurer-Mathison’s artwork can be found in numerous public and private collections, including the Cooper-Hewitt Museum, the Dutch Royal Library in the Netherlands, the Harvard University Library, the Museum of New Mexico, the Museum of Antiquities in China, and many more. To contact the artist or arrange a workshop in the artist’s studio in Spring Mills, Pa. visit Maurer-Mathison’s website www.dianemaurer.com.