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The Jazz Loft's mission is one of Jazz preservation, education, and performance, and has quickly become the premier destination for all things Jazz. Presenting a full performance calendar of local, national and international artists in our period 1940s second floor performance space the Loft also has an extensive education program. Our Pre College Jazz Institute in collaboration with Stony Brook University offers training in jazz theory, performance and masterclass settings to outstanding high school musicians. Our Young at Heart program offers music therapy presentations for those with memory loss and their caregivers. A monthly lecture series and scheduled family concerts round out our community outreach endeavors which are due in part to an outstanding team of sponsors and community leaders. The Jazz Lofts final mission point is that of preservation which is alive and well and on view 24/7 in our 6,000 square feet of original jazz memorabilia spanning 100 years of the American born art form celebrating not only the music, but art and photography as well throughout our many galleries.

Lumberyard, one of the nation's leading contemporary performing arts institutions, serves the performing arts community and its audiences by providing multi-faceted opportunities for artists to develop new work. Unwavering in its commitment to assisting artists throughout the creative process, Lumberyard operates with a collaborative and generous spirit, one driven by this support for artists and appreciation for the audiences who value their work. Lumberyard's history goes back to 1999 when, thanks to founder and benefactor Solange MacArthur, it began as American Dance Institute (ADI), a dance school based in Rockville, Maryland. In 2010, after looking closely at the challenges facing the American contemporary dance field, ADI changed course to focus on artist-centered programs that include residency and performance opportunities. This new direction resulted in what is now Lumberyard's stellar reputation for providing this much needed support, with the Incubator residency program, introduced in 2011, especially praised. Lumberyard also serves emerging artists through its Solange MacArthur Award and Future Artists Initiative. In summer 2016, Lumberyard responded to artists' requests for residencies to culminate with a New York City performance season by launching Lumberyard/NYC, an initiative undertaken in collaboration with New York City theater spaces, which, to this day, not only supports artists but also serves audiences who, at affordable ticket prices, have the chance to see a wide range of contemporary dance. Lumberyard will experience more exciting change in 2018 when it opens new facilities in a former lumberyard in Catskill New York, a town approximately two hours from New York City, positioned beautifully between the Hudson River and the Catskill Creek that was once the home of painter Thomas Cole, founder of the renowned Hudson River School. The renovation of the lumberyard, a four-building complex, will produce fabulous studios and housing, allowing Lumberyard to expand its mission of supporting artists throughout the creative process by being able to increase the number of residencies and performance opportunities available to them. The site will also include a state-of-the art performing arts space, certain to become a cultural destination for Catskill residents and for those traveling to the region. By taking ownership of this property, Lumberyard will connect audiences to some of the best and most provocative performances being created today, and the excitement of seeing works in preview before they premier in less intimate venues will extend beyond the stage to include receptions and talk backs with artists. Catskill residents will also benefit by access to a delightful courtyard that will host a farmers' market and other community events.

The Atlanta Shakespeare Company is a quest for a living theater, a theater whose "raison d'être" is the communion of actor and audience through poetry. To foster that communion, we have built the only Original Practice Playhouse®, The Shakespeare Tavern Playhouse, at 499 Peachtree Street in Atlanta, GA. Using this space as a laboratory for the exploration of Elizabethan stagecraft and theatrical techniques, all of our work is guided by a single clarion principle that ASC reveres above all others: the voice of the playwright. This is true whether the company is presenting an original piece, an American classic, or a timeless masterpiece by William Shakespeare. In all cases, each production is a process that begins with the way each play was originally staged in its own time and ends with a modern audience experiencing the play in a manner consistent with its creator's original intent. Thus, when presenting plays by Shakespeare, ASC productions feature hand-made period costumes, all live music and sound effects, thrilling sword fights, and abundant "direct address" to the audience, all of which is orchestrated to assure that the passion and poetry of Shakespeare's genius remains at the heart of the theatrical experience. This is unlike "modern" approaches that routinely update, alter, deconstruct, or otherwise adapt the plays in the service of a 20th Century sensibility. This Core Aesthetic, known as Original Practice, informs and inspires all of our work.”

For some time now, we have been hearing cries of alarm about a ‘shortage’ of voices suited to opera’s dramatic repertoire, as if these voices are disappearing from the earth. It is certainly not the case that these voices do not exist in nature. They do. What is lacking in our fast-paced world is the time and the care and specifically tailored instruction at an early age that it takes to develop any natural voice into a healthy, expressive, and durable operatic instrument. These instruments when properly developed can last over a career of 40 years or more. This is particularly true of voices that have the potential to develop into the dramatic repertoire of Strauss, Wagner, and Verdi. Dolora Zajick’s Institute is distinguished by the principle of recognizing dramatic voices at an early age and offering them collaborative teaching and guidance by offering collaborative instruction and guidance from respected and experienced professionals who work in major opera houses and understand what these houses are really looking for in professional singers. Zajick’s own instrument took time and care to develop and it continues decades later to thrill audiences the world over. Passing on what she has learned over the course of her great career is now her guiding passion. Established in 2006, the Institute has an innovative approach. An impressively credentialed faculty works in close collaboration with the students and with each other to provide a solid foundation of skills. The program recognizes six levels of development: Opera Discovery (15–17), Introductory (18–22), Intermediate (18–26), Emerging Artists (24–34), Young Professionals (27–36), and the American Wagner Project (no age limit). Instruction is specifically tailored to the level of the singer, and at all levels the goal is to ‘get the whole voice rolling’ as Zajick says, as well as forming the whole singer and artist through a program of voice lessons, music fundamentals, Italian, German and English diction, acting, fitness, and professionalism. The program culminates in a final concert of opera scenes. Graduates of the Institute are already finding their place in the training programs and on the stages of the world’s opera houses. Faculty members are chosen for their expertise and experience in opera, but also for their understanding of the particular development of dramatic voices. All students will have the opportunity to receive private and class instruction from such notable professionals as Dolora Zajick, Luana DeVol, John Parr (Deutscheoper Berlin), Beatrice Benzi (la Scala), Marianne Barrett (Metropolitan Opera), Yelena Kurdina (Metropolitan Opera), Fabio Sparvoli, and John Treleaven.

La MaMa is dedicated to the artist and all aspects of the theatre. It has a worldwide reputation for producing daring work in theatre, dance, performance art, and music that defies form and transcends boundaries of language, race, and culture. Founded in 1961 by theatre pioneer and legend Ellen Stewart, La MaMa is a vital part of the fabric of cultural life in NYC and the anchor of FAB (Fourth Arts Block). In the 1960's, Ms. Stewart, one of the first black fashion designers in New York, worked as the executive designer for Saks Fifth Avenue and was undoubtedly a trendsetter. She began La MaMa with the belief that art, in order to flourish, needs: fiscal support, the company of colleagues, the spirit of collaboration and a public forum in which to be evaluated. The original house of La MaMa sat 30 people, and the stage was the size of a bed. Today, La MaMa is a four-building campus with three theaters, an art gallery, an art and technology studio, rehearsal studios, a dormitory, offices, and an extensive archive documenting the history of Off-Off-Broadway. La MaMa produces approximately 70 productions annually, most of which are world premieres. To date, more than 3,500 productions have been presented at La MaMa with 150,000 artists from more than 70 nations. La MaMa's programming is culturally diverse, cross-disciplinary and draws audiences from all walks of life. In addition to affordable ticket prices, La MaMa distributes up to 8,000 free tickets annually to social service and education organizations. Annual visitors exceed 32,000 people from New York and beyond. Each year, La MaMa provides employment opportunities for more than 260 artists and administrators including performers, writers, composers, directors, choreographers, musicians, designers and educators. La MaMa is a think tank and an experimental forum where artists at various stages of their career and creative development come to take risks. Much of the work done here allows the artistic experimenter to take the lessons learned and capitalize on them elsewhere, thus influencing much of what is eventually seen in commercial theater and the entertainment industry at large. In addition, La MaMa provides people of all ages and backgrounds with an opportunity to explore the arts in various capacities - as a member of the audience, the creative team, production crew or cast. "A home to, and champion of, brash and venturesome artists!" - New York Times Countless American artists have worked at La MaMa during the early stages of their careers, including: Blue Man Group, Steve Buscemi, Robert DeNiro, Andre DeShields, Danny DeVito, Olympia Dukakis, Harvey Fierstein, Philip Glass, Bill Irwin, Diane Lane, Bette Midler, Meredith Monk, Estelle Parsons, Sam Shepard, Patti Smith, Elizabeth Swados, Julie Taymor, Andy Warhol, Lanford Wilson, Robert Wilson, Scott Wittman and Joel Zwick. New Eastern European Theatre was introduced to America in 1967 when La MaMa brought Ryszard Cieslak, Ludwig Flaszen, and Jerry Grotowski to New York. Other international artists whose work premiered at La MaMa include Ivica Buljan, Peter Brooke, Tadeusz Kantor, Kazuo Ohno, Andrei Serban, Shuji Teriyama, and Ahmed Yacoubi. La MaMa has received more than 30 Obie Awards, dozens of Drama Desk and Bessie Awards. Recent significant premieres include: The Foundry Theatre's GOOD PERSON OF SZECHWAN; Belarus Free Theatre's BEING HAROLD PINTER (Obie Award); Lee Breuer's LA DIVINA CARICATURA; and SOULOGRAPHIE: OUR GENOCIDES by Eric Ehn.

The CNY Jazz Arts Foundation enriches our community by sustaining and presenting the art form of American Jazz. CNY Jazz’s broader goals are to present jazz as an art form using the finest local, regional, and national artists available. Jazz, and our efforts to promote it, are by nature a uniquely American multicultural endeavor.

Membership Education and training. Preserve the unique American a capella Barbershop music. Provide education and support of this style of music to youth and schools.

VCM USA is the American branch of the UK based charity, the VCM Foundation - a music education foundation which works to inspire people through music.

To preserve, cultivate and support traditions of American Blues and it's derivatives in Wrightwood, CA. To provide a connection to partnering organizations and events for members and to increase awareness of and appreciation for the Blues through a scholarship and sanctioned educational efforts.

Music Maker Foundation tends the roots of traditional American music by meeting the day-to-day needs of the artists who create it, ensuring their voices are heard, and giving all people access to our nation’s hidden musical treasures.

The mission of Arlekin Players Theatre is twofold: 1) to enrich, educate and entertain the audience by adapting classical and contemporary Russian literature in a playful and thought provoking way; 2) to build meaningful connections between Russian and American cultures through shared human experience.

Preserve, present, create, and expand the boundaries of American Tap Dance. We accomplish our mission through education, creation of new works, performing, presenting tap events, collaborating with other artists and investing in talented youth.   Keane Sense of Rhythm is Tap that grows a community.