HomeMy WebLinkAbout2013-521 Arts - Rob Hamilton for Fall 2013 Art Grant Agreement $1,000 o '
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CUPORANGE COUNTY ARTS COMMISSION z
3 H A N 4 E c E!u N f Y A R Y L FALL, 2013 GRANT AGREEMENT c � \\
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THIS AGREEMENT, entered into this 12th day of December, 2013, by and between Orange
County ("County"), by and through the Orange County Arts Commission ("Arts Commission")
and Rob Hamilton("Grant Recipient").
WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of
local arts experiences by providing funding and support for diverse high quality programs and
projects.
WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program
to provide economic opportunities to Orange County artists and non-profit organizations
coordinating arts projects benefiting the citizens of Orange County.
WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with
funds from the Grassroots Program of the North Carolina Arts Council, an agency of the
Department of Cultural Resources and the National Endowment for the Arts.
WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the
Spring Arts Grant through the procedures duly adopted by the Arts Commission; and
WHEREAS, both parties wish to promote and maintain the integrity and clarity of the
Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the
County;
NOW, THEREFORE, the County and the Grant Recipient, for the consideration and
under the conditions hereinafter set forth, agree as follows:
1. Approved Grant Project. Grant funds are provided under this Agreement for the project
("Project") described in the Grant Recipient's Grant Application, attached hereto and
incorporated herein as Exhibit A.
2. Grant Award. Grant funds in an amount not to exceed one thousand dollars ($1,000)
have been awarded by the Arts Commission to the Grant Recipient for the approved
Project. These funds must be matched at least dollar-for-dollar with cash from the Grant
Recipient's funds not derived from either Orange County appropriations or the North
Carolina Arts Council
3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots
Program funding to the Arts Commission. Final decisions on Grassroots Program funds
to the North Carolina Arts Council are subject to approval by the North Carolina General
Assembly.
4. Responsibilities of the Grant Recipient
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Revised May 2012
A. Implementation. The Project implementation shall take place between January 1,
2014 and December 31, 2014. The Project shall be implemented in the manner
described in Exhibit A. Time is of the essence in the implementation of the
Project.
B. Modifications to project. Grant Recipient shall present major changes to the
original proposal, including but not limited to changes in design, implementation
schedule and increase in Project budget by more than 10%, in writing to the Arts
Commission for approval. Arts Commission shall approve or disapprove Grant
Recipient's request for modifications within seven (7) days of receipt thereof.
Consent to project modifications shall not be unreasonably withheld. Arts
Commission's decisions shall be in writing. In the event the Arts Commission
fails to approve or disapprove the requested modifications within the time stated
herein,the modifications shall be deemed approved.
C. Non—assi nment. The grant cannot be assigned or transferred to a different project
or artist without prior written approval of the Arts Commission.
D. Records. Grant Recipient must maintain records and other evidence pertaining
to costs incurred and revenues acquired during the Project implementation. Grant
Recipient shall maintain financial records pertaining to the Project for three (3)
years from the date of this Agreement, in case of audit.
E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding
taxes or other debts of any nature. The grants shall be utilized solely for the
purpose of implementing the Project and Project related expenses.
F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report
on January 16, 2015 . The Final Report shall be in the format required by
the North Carolina Arts Council. Failure to submit the Final Report or late
submission of the Final Report, for any reason, shall be grounds for denial and/or
cancellation of grant funds for the Project and future grant proposals.
5. Responsibilities of the Arts Commission
A. Pam ent. The Arts Commission shall release the grant funds in the amount of
$1,000 to the Grant Recipient.
6. Publicity
A. Acknowled ement. Credit must be given to the Orange County Arts
Commission using the Arts Commission logo and if State funds are received
to the North Carolina Grassroots Program in brochures, news releases,
programs, and all other printed and online publications. Copies of such printed
materials must accompany the evaluation report. When no printed information is
used, verbal credit shall be given. In addition, all print and promotional material
must include the following credit line (check all that apply):
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Revised May 2012
i. x County Funds Only. "This program is supported by the Orange County
Arts Commission. "
ii. North Carolina Arts Council Funding. "This program is supported by
the Orange County Arts Commission with funds from the Grassroots Program
of the North Carolina Arts Council, a state agency. "
B. The Grant Recipient must enter all events, exhibits and performances open to the
public and related to this grant award on the ExploreChapelHillARTS.com
website and display ExploreChapelHil ARTS.com publicity materials
(postcards, brochures, etc.) prominently and consistently at their venue or
performance space. In addition, the Grant Recipient must add a link to the
ExploreChapelHilIARTS.com (ExploreChapelHillARTS.com logo preferred)
to their main webpage. The Grant Recipient shall contact the Orange County Arts
Commission for replacement ExploreChapelHillARTS.com publicity materials.
7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the
Arts Commission and the North Carolina Arts Council and their officers and employees
from any and all claims or actual injury, damage or loss to a person, or real or personal
property that results from or is in any way connected to the use of the grant funds.
8. Independent Contractor. The Grant Recipient is an independent contractor and not an
employee, agent or other representative of the County and/or the Arts Commission.
Nothing contained in this Agreement shall be construed to create the relationship of
principal and agent, or employer and employee, between Grant Recipient and Arts
Commission or Orange County Government. Grant Recipient understands and agrees
that he/she is not authorized to incur any expenses or any liability whatsoever on behalf
of the County or the Arts Commission and has no authority, expressed or implied, to
obligate or make representations on behalf of the County or the Arts Commission. In
addition, Grant Recipient agrees to maintain his or her own worker's compensation
insurance for himself/herself and his or her employees for the duration of the art work's
installation.
9. Termination
A. In the event of any of the circumstances set forth below(hereinafter referred to as
"default"),the Arts Commission may immediately terminate this Agreement:
(i) Any fraudulent representation in any verification required to obtain
payment under this Agreement or other dishonesty on a material matter
relating to the performance of services under this Agreement.
(ii) Nonperformance, incomplete service or performance, or failure to
satisfactorily perform any part of the Project or to comply with any
provision of this Agreement, as determined by the Arts Commission in its
sole discretion.
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Revised May 2012
(iii) Failure to adhere to the terms of applicable county, state or federal laws,
regulations, or stated public policy.
B. In the event of default by the Grant Recipient, the Arts Commission has the
discretion to elect to terminate this Agreement, in whole or in part and/or require
the Grant Recipient to repay the grant funds within seven (7) from written notice
of default or allow the grant recipient the opportunity to cure the default. This
clause shall not be interpreted to limit the County's or the Arts Commission's
remedies in law or in equity.
10. Miscellaneous.
A. Entire Agreement. This Agreement and the attachments contain the final and
entire understanding of the parties with respect to the subject matter of this
Agreement. All modifications and amendments to this Agreement shall be in
writing. This Agreement shall be binding upon the parties, their heirs, successors
and assigns.
B. Governing Law. This Agreement shall be interpreted in accordance with the laws
of the State of North Carolina and the Orange County.
IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant
Agreement, effective on the last date this Agreement is signed by both parties as indicated by the
dates set forth under signatures below.
Fo nd on b ay'of the Grant Recipient
(cj l8 A—, �l3
Vob Hamilton Date
For a o e of ran a ou ty Government
i
Date
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For and on behalf of Orange County Arts Commission/approved as to technical content
Steve Brantley,Economic Develo t Director Date
Apr ved o form and legal sufficiency
Am ette M. Moore, Ataff Attorney Da
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Revised May 2012
This instrument has been pre-audited in the manner required by the Local Government Budget
and Fiscal Control Act
aa'&�,. A AK- di'liv
Clarence G. Grier,Administrative and Financial Services Date
5
Revised May 2012
Artist Project Grant - Fall
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2013-14 Application Form
ORANGE COUNTY ARTS Orange County Arts Commission
COMMISSION
Promoting the artistic and cultural development of Orange County, North Carolina
1 Artist Information/1
Applicant Name A^.I LT0lj
Mailing Address 010 VX Iz• °
Daytime Phone �! Fax Number
a
Email Address -l1-d 1• 6 36 Web Site
DUNS Number _
2 Grant Request Summa
Arts Program Grant Request �067p _ Total Cash Match 000
Summary Statement for Propos Use of Arts Program Grant z-y I,�D�
4 Narrative
Write a description, up to three pages,single spaced,that describes the following under separate subheadings:
• Proposed Project-what will you do,where will it be performed or displayed,when will the preparations
and public component take place, list any organizational partners.
• Community Impact-describe the project's public component, how many people will be impacted.
• Artist Experience-include a brief description of your similar arts projects in the past.
5 Application Checklist (in this order,do not staple, bind, or put into individual folders)
1 copy each: (Only 1 sided,8 112"x i i, white paper)
• Application Form, Page One, Including Signature
• Narrative
• Budget Sheet
• Itemized Budget(if necessary)
• Resumes of artist(s).
1 copy each:
• Sample programs,press,or other materials from this or similar past programs.
• Sample work by artist produced in the last three years:
For example,for visual arts submit a PC-compatible CD or DVD,slides or high quality photographs(5-10
images);for dance or theater arts submit a PC-compatible CD or DVD,or video tape(3-5 minute sample);for
music and spoken word submit a PC-compatible CD or DVD,or audio tape(1-2 selections);for literary arts
submit a manuscript(10-15 pages).
Label all sample work with art ists'/organizations'name,title of work(s),date of work. For visual arts include
heet�+vith work dimensions,media. Indicate top of image.
3
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A Est Signature - Date Typed or Printed Artist Name
INCOMPLETE APPLICATIONS WILL NOT BE FUNDED
Questions? Call 9191968-2011. Delivery address:501 West Franklin Street, Chapel Hill, NC 27516
The Misdirection of Henry Walker:
a Tragedy for Constructed Actors
Proposed Project:
The Misdirection of Henry Walker a Tragedy for Constructed Actors is an adaptation by Rob
Hamilton of Mr. Sebastian and the Negro Magician by Daniel Wallace,designed and written for
puppets, i.e. constructed actors. It is scheduled to be presented by the Performance Studies Unit
within the UNC Department of Communication Studies,opening on March 27th,2014 at Swain Hall.
Synopsis:It is 1954,somewhere in the backroads of the American South. Henry Walker performs as
"The Negro Magician"in a worn-at-the-edges traveling sideshow. On Halloween,he humiliates a
knife-wielding racist and in retaliation is beaten horribly. The story then takes us back and forth
through Henry's life to reveal how he arrived at this ultimately fatal encounter. His fellow sideshow
performers—the"Strongest Man in the Entire World,"the"Ossified Girl,"and others—embrace him
as family,but Henry is incapable of accepting their love and support because he is haunted by the
disappearance of his sister Hannah,whom he believes was stolen by the Devil when they were
children.
He has dedicated his life—even sacrificing his white privilege by transforming himself into a Negro
—to finding and vanquishing Satan and thereby achieve vengeance as well as absolution for what he
thinks was his contribution to her abduction. In the end,however,we realize that Henry's life—and
death—was little more than a cascading series of mistaken assumptions and false perceptions,made
all the more tragic by capricious happenstance.
The script has been in development since June,2011,and was presented to extremely positive
response this past March in public readings. It retains Wallace's zest for eccentric characters and
poetic use of time and space while reinforcing his magic realism visually through its use of
constructed actors in a deeply evocative medium.
Given the varied and complex iterations of the characters in the show—Henry alone appears as a
white child,a black child,a black teenager,a young white man,an older white man in blackface,and
the same older man after the beating;a series that could not be accomplished onstage without a half-
dozen human actors—the adaptation has been designed from the very beginning for puppets.
To best present the narrative,the production technology intends to augment traditional overhead-
projector shadow puppetry with digital camera/projection systems in order to create a new type of
performance methodology;the equivalent of stop-action animation performed live. Adding the
capability to show surface detail/design—rather than be limited to just silhouette—will expand the
expressive range of the puppet and puppeteer alike. This approach will also contribute greatly to the
design concept of the show,rooted in German Expressionism as illustrated through its use of
woodcut,chiaroscuro,and distorted perspective in creating a unique visual vocabulary.
In order to accommodate the restrictions of time and space,the text of the adaptation will be recorded
locally(with a cast made up of both professionals and students)far enough ahead of the rehearsal
process as to permit the puppeteers to work with the tracks from the first day,so the syncing of action
to dialogue will be integral.
Community!=act:
The show is already in the process of partnering with local businesses,given Vimala's Curryblossom
Cafe generous offer to host a fundraising event in the spring,and WagonWheel Arts coming onboard
to direct marketing/PR as well as provide expert crowdfunding supervision.
Reaching an estimated audience of 300-400—a conservative estimate,one hopes—Henry Walker
presents a rare opportunity for fans of puppetry,theatre,and Daniel Wallace to come together in a
unique community event. Within the local theatre community,it presents an equally rare chance for
actors to spend time in a recording studio working with professional recording engineers and
voiceover artists. UNC students will be involved with the creation of a production unlike anything
they have ever done,both backstage and as audience members learning to develop an appreciation
for live performance. Given Daniel Wallace's well-deserved fame and Rob Hamilton's contacts
among US puppeteers,it is virtually a given that this production will bring national attention to
Chapel Hill at a time when puppetry is becoming more and more appreciated as a legitimate artform.
Overall, The Misdirection of Henry Walker will undoubtedly be a transformative experience for all
involved,and the generous support of the Orange County Arts Commission would be a integral part
of that success.
Artist Experience:
Rob Hamilton holds an MFA in Theatre Design&Technology from the University of Montana and a
BFA in Theatre from the University of Southern Mississippi. He has been a member of United
Scenic Artists,LU 829 as Scenic Designer and Lighting Designer for over twenty-five years,earning
awards across the country. He has been affiliated with UNC-Chapel Hill and the Department of
Communication Studies since 2000,while maintaining an active design role throughout the Triangle.
Currently,he teaches in the area of production methodologies for live performance and is developing
a new performance course in mask/performing objects.
As a puppeteer,Hamilton was a member of the crew for the original Off-Broadway production of
Little Shop of Horrors,and this past April appeared onstage in Basil Twist's The Rite of Spring at
Memorial Hall. He was invited to attend the National Puppetry Conference at the O'Neill Theater
Center in 2012 and again in 2013,and has participated in the last two Puppeteers of America national
conventions as workshop presenter in 2011 and this year as Director of the Works-In-Progress series
showcasing new work written specifically for puppet theatre. Locally,he has also worked with Torry
Bend on her The Paper Hat Game and Tori Ralston on her Harvesting Pomegranate Dreams.
Recently,Hamilton adapted,designed,and directed Dai Sijie's Balzac and the Little Chinese
Seamstress for the Department of Communication Studies. The Independent Weekly—which
awarded the production"best of citations for both production design and adaptation—said: "...the
design and adaptation of Rob Hamilton's new.. version of Dai Sijie's enchanting 2000 novel is
basically unassailable. Indeed, many have justifiably respected Hamilton's talents for years now in
regional productions with StreetSigns, Wordshed, Manbites Dog and Deep Dish Theater."
G2013-14 Artist Project Application Page Two
G
ORANGE COUNTY ARTS
COMMISSION
Financial Information
Please provide a projected budget for your proposed project utilizing the format below.
Project Expenses Cash = Grant Amount + Applicant
Expenses Requested Cash Match
A Personnel (�
Administrative staff -1�d
Artistic staff OdO
Technical/Production staff o0
B Outside Fees and Services
Artistic contracts
Other contracts:
C Space Rental–Recon J1 N4
D Travel S7w�
E Marketing �,' LSLO
F Remaining Project Expenses 14 &9 0
G Total Cash Expenses
Project Income Cash Income
A Admissions
B Contracted Services Revenue
C Other Revenue(specify)
D Private Support
Corporate support
Foundation support
Other private support
E Government Support
Federal
State/regional(not including this request) uNG -
Local(not including this request) �V N�+' Ca►fM T•�Dt )
F Applicant Cash
G Grant Amount Requested
in this application /
H Total Cash Income
(must equal Total Cash Expenses, �-
Item G above)
httn:%(cun-vblossom.cony
September 18',2013
Rob Hamilton
University of North Carolina @ Chapel Hill
Chapel Hill,NC 27599-6235
Dear Rob:
Congratulations on the continuing success of Henry Walker. My family has long valued Daniel
Wallace as a personal friend and also as an important part of our artistic community. We at
Vimala's are thrilled that you're bringing his work to life on stage and would love to do anything
we can to help make it possible. We're excited to know that the piece is in your capable hands.
We'd like to host a fundraising event for Henry Walker at our restaurant,and are looking forward
to further coordinating details with you. Feel free to contact me at your earliest convenience.
Best,
Rajeev Rajendran
General Manager
Vimala's Curryblossom Cafe
Chapel Hill,NC
,V
Curriculum Vitae
Rob Hamilton
Lecturer•Designer•Technical Director for Performance Studies
Department of Communication Studies
University of North Carolina at Chapel Hill
Chapel Hill,NC 27599
hLtp://www.linkedin.com/profile%view?id=41960818&trk=tab pro
Education
M.F.A.in Design&Technical Theatre
University of Montana
Teaching Assistant in Stagecraft and Scene Painting;dancer/lighting designer for Montana Dance Co.;propmaster
for Drama Department and Montana Repertory Theatre;Company Manager&Assistant Designer for Montana Rep
tour of Valley Forge
B.F.A in Theatre Arts,
University of Southern Mississippi
Staff technician;construction and mounting of lab and mainstage productions;crew supervision;technical support
for road shows and concerts;dancer/lighting designer for Orchesis Dance Co.;Louis Gertler Award for Technical
Proficiency;Alpha Psi Omega Outstanding Contribution Award
Selected Experience
Current:
Lecturer/Designer/Technical Director
UNC-CH•Department of Communication Studies(2002-current)
Design,construction,installation,etc.of scenery and properties for Performance Studies projects;
supervision/training of students and volunteers;purchasing,inventory and equipment maintenance;teaching in the
areas of live performance methodologies,and the creation/use of mask/performing object in performance;faculty
advisor to Company Carolina student performance group;technical advisor to The Process Series
Designer/Technical Director
Deep Dish Theater Company(2001-current)
Scenery and costume design,construction,painting,shopping,etc.for award-winning Triangle theatre;recent work
includes Mi Vida Loca,Jitney,Radio Golf,After the Revolution,Othello,Next to Normal and Good People.
Exhibit Builder/Concept Renderer
City of San Josh(1996-current)
Associate designer and scenic artist for Christmas In The Park and Happy Hollow Park and Zoo:design,
construction,maintenance and installation of animated outdoor displays and attractions;crowd control and security;
supervision of volunteers ranging from teenage to senior to county prisoner work crews
Scenic and Lighting Designer
United Scenic Artists,LU#829(1987-current)
Design and creation of design elements in all categories for Off-Off and Off-Broadway,LORT,regional,
educational,and community theaters as well as trade shows and industrials in the US and Europe.
Previous:
Scenic Camenter/Properties CaMenter
PlayMakers Repertory Company(LORT)
Construction,installation,inventory/equipment maintenance,etc.of scenery and properties
Properties Carpenter
San Jose Repertory Theatre(LORT)
Construction/refurbishment of furniture and specialty props in wood,metal,fabrics and/or plastics
Adjunct Faculty
Indiana University Northwest
Scenic/lighting design for departmental productions;courses taught:Intro to Theatre,Scene Painting,Stagecraft,
Scenic Design I and II,and Lighting Design I and IT
Adjunct Faculty
DePaul University•The Theatre School
Developed/taught course in theatrical rendering techniques for advanced seniors and graduate students
Designer/Charge Scenic Artist
Chicago Scenic Studios,Inc.
Designer/Art Director for industrials(Best of Show for HBO Video),special events,television and theatre;Paint
Dept.Head:hiring;training;material specification,purchasing and maintenance;MSDS upkeep;lacquer,foams,
casting resins,fiberglas,vinyls and similar
Lighting Director
Hikari Baba/Baba Dancers
Lighting design,graphic design and stage management for Japanese-American modern dance company.
Propmaster/Puppeteer
LITTLE SHOP OF HORRORS(Off-Broadway)
Props and puppet maintenance;touchup scenic artist;running and general tech maintenance crews
Freelance Drafter/Modelmaker
Broadway:Dance a Little Closer,La Cage aux Folles,Private Lives(David Mitchell); 1 st National and Bus
&Truck Tours:Amadeus(Ursula Belden);Regional:Juno and the Paycock,The Price,Quilters(Ursula Belden);
Industrial/Special Events(Peter Wexler);misc."crunch"work-William Barclay,Steve Hendricksen,Ray Hussey,
William Ritman
Adjunct Faculty
Wagner College
Instruction,scheduling and evaluation of stagecraft labs;design,construction,painting,etc of SNOOPY.!Tour
Stage Manager/Technical Director
The Actor's Studio
Upkeep of theatre and building;supervision of volunteer and professional crews;scheduling of rehearsal and
performance spaces;recording and safekeeping of taped archives-Lee Strasberg,Elia Kazan,Harold Clurman,etc.
Awards
•Independent Weekly"Best"Citation—Twelfth Night(scenery);Jitney(scenery);Holy Hell
(direction);Balzac and the Little Chinese Seamstress(production design&adaptation)
•Dean Goodman Dramalogue Award--Redwood Curtain(scenery)
•Dean Goodman Choice Award—The King and I(scenery)
•Joseph Jefferson Citation—The Scarecrow(scenery&costumes)
•Joseph Jefferson Award nominations--Hapgood(scenery);Puntila and His Hired Man(scenery&
costumes)
•Arty Award--Blood Brothers(scenery);The Heiress(scenery); Twelfth Night(scenery)
•USITT Art for the Stage Exhibit/Tour--HAIR(scenery)
" t
DVD Portfolio—Rob Hamilton
01 UNC (scenic design)
Selected shots from The Activist,Eating Animals, and Vertigo
02 Deep Dish Theater(scenic design)
Selected shots from After the Revolution,Body Awareness, Good People, Jitney,Mi Vida
Loca,Next To Normal(including initial rough model,finished model,and production shot
from performance in Cary), and Radio Golf
03 Christmas-In-The-Park, San Josh, CA(scenic&graphic design)
Re-working the Around the World display as a Think Globally,Act Locally display to
raise environmental awareness,and changing the Snowman Builders to examples of
having a"green"holiday; for example,recycling excessive catalops,composting,using
LED lights on the tree,using a timer for the lights, etc. (these were for the 2013
Christmas event, opening November 29'.Also shown is the graphic design for the smart
phone app attendees can use to find the various displays,vendors, and events in the park
during the run.
04 Sonoma State University,Rohert Park, CA(scenic design)
Selected shots from A Midsummer Night's Dream; 2011 "re-visioning"of original 1998
production.
05 Tribe in Motion (mask design/construction)
A version of Shiva for an original performance by Rremida Shkoza
06 Harvesting Pomegranate Dreams (puppeteer)
Rehearsal with bun-raku puppet for Process Series performance of a piece by Tori
Ralston.
07 Multimasking(script, direction, design)
An in-progess piece looking at body image and lookism,wherein the character—in a
search for a"perfect face"—peels away layers of herself down to a faceless self.
08 Fabula de la Sirena y los Borrachos(script, direction, design)
Short in-progress film using Mexican lottery cards as puppets in the telling of Naruda's
poem(text included.)