Ms. Balode was immersed in all aspects of BalletMet administration for two productions. She also worked with the Development, Education and Academy departments and attended Board meetings. She observed rehearsals of the BalletMet Company and was introduced to arts professionals from the Ohio State University, the Wexner Center of Arts, the Ohio Arts Council and other area organizations.

Judit Bálványos performed in Sushi Performance and Visual Art’s 4/4 Performance Series and with the Trummerflora musicians collective. She attended classes in the Women’s Studies Department at San Diego State University and was introduced to local musicians and organizations.

Ilya Belenkov was integrated as a performer and choreographic collaborator for two Dance Exchange projects and he choreographed and performed his first solo piece. He took classes with company members and participated in community residency work at local hospitals. He also participated in planning meetings for performances and attended internal. Dance Exchange members benefited from his strong conceptual and visual aesthetic, focusing on costuming and spectacle, as well as his concepts of movement initiation.

Tamara Bračič attended weekly Programming and Production, staff and artists orientations meetings. She attended DTW mainstage performances, studio showings of the residency and performance program and donor cultivation events. In addition, she met with artists and arts professionals from Danspace Project, The Joyce Theater, Pentacle and other area organizations.

Gianina Carbunariu attended roundtable sessions and workshop presentations at Lark and numerous productions of plays in New York City. She met with artistic staff at other organizations including The Public Theater, New York Theater Workshop and the New Group. In collaboration with director Liesl Tommy, translator Christian Panaite, actors and Lark artistic staff, she created, in two languages at the same time, the first half of a new play, which was presented in a public reading at Lark. The New York City theatrical community benefited from exposure to the perspectives and global issues raised in her work. In addition, as a result of discussions during the residency, Lark was reexamining contract models for artists and translators and investigating ways to encourage theater makers in the US to learn how to share their work within the European festival model.

Natasha Lushetich conceptualized and conducted research—including interviews with Cleveland residents—for a new city-wide performance piece. Cleveland Public Theatre connected her with other area arts organizations to generate interest in producing the project at a future date. She attended rehearsals, performances and educational programs throughout the community and gave workshops at partner organizations. Her ambitious plans for the Cleveland project introduced students and artists to new ways of thinking about performance and inspired a greater sense of possibility in the Cleveland art community.

Barbara Novakovič Kolenc immersed herself in the graduate course offerings at Yale Schools of Drama, Art and Architecture and participated in discussions and talks with students and faculty in all disciplines. She attended rehearsals and performances of eight productions and productions-in-process at Yale Repertory Theatre, Yale School of Drama and Yale Cabaret and visited local arts organizations, museums and open studios.

Stefan Peca was able to observe a production taking shape from rehearsals to opening night. He met with writers, directors and actors in Connecticut and New York and was introduced to the Hartford Stage Theatre, Yale Rep. New York Theatre Workshop, and the Public Theatre. In addition, with the help of Long Wharf artistic staff, he developed a new play, which was given a public reading at Long Wharf.

Aiste Ptakauskaitė attended playwriting, acting, directing and dramaturgy classes and participated in discussions and readings. She worked closely with Erik Ehn at CalArts and with the Center Theater Group to develop techniques and ideas for new work. She was introduced to the LA theatrical community and dramaturged a script by the award-winning young playwright Ameenah Kaplan. Students, faculty and artists benefited from her expertise on scripts, social history and international arts networks.

Hosted by On the Boards, Mr. Rezke participated regularly in staff and board meetings and audited a new works festival panel. He was introduced to local artists and organizations including the Washington Ensemble Theatre and Hand2Mouth Theatre and attended performances at OtB and other venues in the area. He also traveled to Vancouver to visit arts organizations there.

Portland Institute for Contemporary Art features emerging artists in all disciplines, bridging the gap between collecting institutions, commercial galleries and performing arts presenters. Mr. Rezke was involved in organizational and administrative issues and was able to see how PICA staff interacts with board, sponsors and members. He attended performances, met with many members of the local arts and gave a salon discussion for the public. The residency provided a great opportunity for PICA staff and the broader artistic community to compare the strengths and weaknesses of different types of arts organizations and different funding strategies.

Sofiya Ryabchuk attended rehearsal and production meetings, performances and master classes. She worked with Student Affairs and Student Docent-in-Training staff at OSU and discussed development and marketing strategies with staff from the Wexner Center for the Arts and the Columbus Association for the Performing Arts. She was also introduced to other local organizations and artists. OSU staff and students benefited from learning

Micheala Rýgrová worked with DiverseWorks programming and production staff to mount three productions and she observed fundraising and marketing strategies. In addition, she met with artists and administrators throughout the Houston art community including the Mitchell Center for the Arts at the University of Houston, Project Row Houses and the Society for Performing Arts.

Maya Samniasvili had an opportunity to observe and assist with an annual gala event and with production and tech week for the first production of the season. She also attended local events and met with other arts professionals in Boston.

As one of the nation’s leading opera companies, Washington National Opera aims to broaden public awareness and understanding of opera performance and administration through its educational programs. Maya Samniashvili met with staff in Development, Marketing, Public Relations, Education and Operations. She attended seminars, rehearsals and performances and was introduced to artists and arts organizations in the Washington DC area.

Goce Smilevski attended performances and readings and met with a variety of artists and arts professionals. He worked closely with professors at New York University and the New School to develop a new play.

Viktor Tóth had an opportunity to meet and perform with numerous local musicians. He worked with CAC Education Director and gave workshops for students of various ages through CAC’s Artist For a Day program and at the New Orleans Center for the Creative Arts. He was immersed in the unique musical expression of New Orleans by attending numerous concerts at CAC and other local venues. Through teaching and musical collaboration, he expanded awareness and appreciation for Hungarian and Central European musical traditions, styles and approaches.

Alexander Ulanov gave several readings and public presentations and attended many salons, readings and receptions at IWP. He also conducted extensive research on contemporary American poetry at the University library. IWP arranged a four-day field trip in Chicago where he attended the Chicago Humanities Festival and the International Day of Writing. He contributed great insight into different systems of expression and generated exchange among writers through his extensive research and translation projects. A professional engineer and poet, Alexander also introduced American writers to ways of using techniques and concerns from other fields of study in creative work.