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PACE Society consists of active and inactive sex workers, community leaders and professionals that work collaboratively to create opportunities for individuals involved in survival sex work to make free choices pertaining to their lives. In light of the changing social, legal and economic conditions in which sex work takes place, PACE Society makes the distinction between sex work (formerly prostitution) and survival sex work. Survival sex work is defined as the lack of opportunity to consistently exercise the right to refuse sex work. We work to increase the health, safety and rights of refusal for individuals involved in survival sex work.

In this remote, water-access only archipelago, which lacks many commercial and government services, the Surge Narrows Communnity Association often acts as a facilitator and initiator of projects that improve the comfort,happiness, health and safety of the community. It is a point of contact for government agencies and a disseminator of information. Despite it's status as the only registered organisation in the area, SNCA resists the imposition of any kind of governmental role, preferring to enable individuals to take responsibility for the well being and harmony of the community. By providing buildings for all kinds of activities and by fundraising to support community generated projects, SNCA gives vital support to the islands' people.

We embrace the infinite theatrical potential of intimate live performance. We contemplate questions that inspire us and devise theater pieces which respond to and engage with the world in which we live. We address the ambivalence, terror and exhilaration of our age on the scale of person-to-person through theater that utilizes a simplicity of means to achieve richness of expression. Our original, story-driven, visceral theater straddles the line between mainstream and experimental, elevates design while valuing strong storytelling, and pulls you close and doesn't let go. We strive to create great happenings in small rooms, theater as close as a whisper in your ear or a stranger's hand brushing yours. Intimacy is our way in. Artistic Director Adrienne Campbell-Holt leads a 16-member ensemble of actors, playwrights and designers to nurture the next generation of theater artists through the development and production of new plays and by providing arts education to students from underserved NYC public schools. Over 6 years, Colt Coeur has produced 7 world premieres; developed 28 plays; and provided free arts education for over 100 students. Productions All 6 world premieres received rave reviews and have enabled us to build an audience base. Steven Levenson's SEVEN MINUTES IN HEAVEN was selected by Ars Nova for ANTFEST and subsequently transferred to the Emerging America Festival in Boston before running for 3 weeks at HERE. Lucas Kavner's FISH EYE ran for 3 weeks at HERE and was included in NY Magazine's “Best of 2011″ list. Eliza Clark's RECALL had a 4-week run at the Wild Project and also received rave reviews. Nikole Beckwith's satire EVERYTHING IS OURS ran for 4 weeks in 2013 at HERE and extended due to demand. Ruby Spiegel's DRY LAND made NYPost's Top 10 of 2014 list and was recently published in American Theater magazine (along with photographs from our production). MJ Kaufman's HOW TO LIVE ON EARTH enjoyed a 4-week run in the fall of 2015 and was even featured on MSNBC's “The Last Word with Lawrence O'Donell. All of these plays have also been published and will receive future productions around the US and abroad. Play Hotel Our primary arena for developing new work is held 6 times/year. Workshops last 4-10 days, culminating in a free public presentation. Dialogue between artists and audience are held after each presentation. Past writers included Chiara Atik, Clare Barron, Lindsey Ferrentino and Amelia Roper. Education Initiative Company members serve as the Teaching Artists for this free annual play-making intensive which we offer NYC public school students ages 11-15 during the NYC public school Spring break. Student alums of the program return as paid Student Leaders and professional actors and playwrights serve as our Teaching Artists.

The mission of Jazz at Lincoln Center is to entertain, enrich and expand a global community for Jazz through performance, education and advocacy. We believe Jazz is a metaphor for Democracy. Because jazz is improvisational, it celebrates personal freedom and encourages individual expression. Because jazz is swinging, it dedicates that freedom to finding and maintaining common ground with others. Because jazz is rooted in the blues, it inspires us to face adversity with persistent optimism.From our first downbeat as a summer concert series at Lincoln Center in 1987, to the fully orchestrated achievement of opening the world's first venue designed specifically for jazz in 2004, we have celebrated this music and these landmarks with an ever-growing audience of jazz fans from around the world.Representing the totality of jazz music, Jazz at Lincoln Center's mission is carried out through four elements—educational, curatorial, archival, and ceremonial—capturing, in unparalleled scope, the full spectrum of the jazz experience.In the mid-1980s, Lincoln Center, Inc. was looking to expand its programming efforts to attract new and younger audiences, and to fill its halls during the summer months when resident companies were performing elsewhere. Long-time jazz enthusiasts on the Lincoln Center campus and on the Lincoln Center Board recognized the need for America's music to be represented, and lobbied to include jazz in the organization's offerings. After four summers of successful Classical Jazz concerts, Jazz at Lincoln Center (JALC) became an official department of Lincoln Center in 1991. During its first year, JALC produced concerts throughout New York City, including Brooklyn and Harlem. By the second year, JALC had its own radio series on National Public Radio, and the Lincoln Center Jazz Orchestra (now known as the Jazz at Lincoln Center Orchestra) began touring, and recording and selling CDs. By its fourth year, the program reached international audiences with performances in Hong Kong and, the following year, in France, Austria, Italy, Turkey, Norway, Spain, England, Germany and Finland. In July 1996, JALC was inducted as the first new constituent of Lincoln Center since The School of American Ballet joined in 1987, laying the groundwork for the building of a performance facility designed specifically for the sound, function and feeling of jazz.“The whole space is dedicated to the feeling of swing, which is a feeling of extreme coordination," explained Jazz at Lincoln Center's Managing and Artistic Director Wynton Marsalis of his vision for the new home of jazz, or the “House of Swing." “Everything is integrated: the relationship between one space and another, the relationship between the audience and the musicians, is one fluid motion, because that's how our music is." Under Marsalis's direction, JALC sought out world-renowned architect Rafael Viñoly and a team of acoustic engineers to create Frederick P. Rose Hall, the world's first performance, education and broadcast facility devoted to jazz, in New York City. As the centerpiece of a $131 million capital campaign drive, the 100,000-square-foot facility opened in fall 2004 and features three concert and performance spaces (Rose Theater, The Appel Room and Dizzy's Club Coca-Cola) engineered for the warmth and clarity of the sound of jazz.