CulturalDC News

BisNow (Picture)



April 28, 2016

BisNow (Picture)
Source Festival!

Over 30 people enjoyed the wonderful weather Sunday at the 2016 Source Festival Salon, presented by CulturalDC and hosted by Olwen and Don Pongrace (Akin Gump). Here, CulturalDC board chair and Bank of America’s Maurice Perry, Source Festival associate producer Lee Cromwell, and CulturalDC board member and the salon’s host, Olwen Pongrace.




At Flashpoint Gallery, Pondering Grief Through Fragile Photography



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At Flashpoint Gallery, Pondering Grief Through Fragile Photography

Ham inset

In her multimedia exhibit “Sound of Butterfly,” D.C.-based artist Soomin Ham ingeniously blends form with theme.

Her Flashpoint Gallery exhibit dwells on themes of grief and loss, specifically Ham’s loss of her mother. She channeled her heartache by sifting through her mother’s possessions and photographing them. The items themselves are prosaic–articles of clothing, a watch, bottles of pills, even her mother’s fingerprint on a jar. Other images depict scenes with special meaning for Ham, such as the highway turnoff sign for the memorial park where her mother was laid to rest.

It’s Ham’s artistic treatment that makes them exceptional.

In one series consisting of more than two dozen square images, Ham starts with a photograph of one of her mother’s possessions, then freezes it in a layer of ice before re-photographing it. The resulting work both deadens the clarity of the image and adds a sprinkling of air bubbles around the edges, producing something almost mystical.

A second series is even more engrossing. It consists of a dozen reproductions of old family photos–vacations, weddings, group portraits. Ham scanned these images, printed them on rice paper, left them in water, then washed and dried them repeatedly until the images became murky. Then she left them out in the falling snow and photographed them again when they were almost covered.

The resulting images are visually stunning–the complex process dulls individuals’ faces to blankness and turns panoramic views into indistinct, pictorial fantasies seemingly photographed using 19th century paper negatives.

What gives these works added power, though, is the idea that they have been defined as artworks by something as ephemeral as snow or ice. The result is as eloquent as it is elegiac.

Through April 30 at Flashpoint Gallery, 916 G St. NW. Wed-Sat 12 p.m.-6 p.m




Annalisa Dias’ One Word More at Flashpoint (review)


DC Theatre Scene (Logo)
Annalisa Dias’ One Word More at Flashpoint (review)
April 11, 2016 by

Before Prospero, Miranda, Ferdinand, and even Caliban…there was Sycorax. In One Word More, writer and performer Annalisa Dias offers a bold, mind-bending vision of Shakespeare’s The Tempest that stretches from the remote desert island all the way to the American frontier.

 Dias, director Bridget Grace Sheaff, and their ambitious creative team have turned back the clock to when Prospero first crashed, confused and afraid, on the storied island ruled by the powerful Sycorax. In Shakespeare’s text, Sycorax is never seen and merely referenced as a cruel and dangerous witch. In One Word More, Dias transforms her into a sympathetic centerpiece and reverts Prospero to a disembodied voiceover. From this novel angle, Dias’ examines the colonialism, patriarchy, and native erasure that have followed Western explorers for centuries. Interestingly enough, her biggest scorn is reserved for American pioneers Lewis and Clark.

Annalisa Dias performing One Word More

Dias blends her imagined encounters between Sycorax and Prospero with verbatim readings from Lewis and Clark’s shocking expedition journals. The explorers’ xenophobic insights on first contact with Native Americans force the audience to confront the uncomfortable implications of Prospero’s rule. By the start of The Tempest, the Milanese Duke has simply overthrown or enslaved the natives, and Sycorax is nowhere to be found. Her son Caliban is treated as an outcast and villain by the virtuous Western leads. If nothing else, Dias’ thought experiment exposes an uncomfortable imperialist through-line bridging 17th Century England and 19th Century America.

We talk with Annalisa Dias

The confident Dias has no trouble commanding the stage alone for 60 uninterrupted minutes. In her troubled historian role, she alternates between dry academic humor and growing unease at Lewis and Clark’s racist, sexist musings. As Sycorax, she stalks the dirt-covered Mead Theatre Lab stage waging emotional and physical battle with the strengthening Prospero.

The quick transitions between writing studio, American frontier, and remote island can be confusing – the show works best when Dias has time to really dig into a particular scene without interruption. The only pieces that just don’t work are two dance sections where she seeks to imitate a mighty storm, but instead looks more like she’s caught inside a wind-tossed garbage bag.

April 8 – 30
Mead Theatre Lab
Flashpoint Gallery
916 G Street NW
Washington, DC 20001
Tickets: $20

The production’s most clever trick is creating a convincing likeness of Prospero onstage with only voiceover and an assortment of broken statues. Sculptor Brian Fernandes-Halloran employs a variety of materials and styles to create a graveyard of parts collectively representing the stranded Duke. With help from the well-timed sound and lighting work by designers DeLesslin George-Warren and E-hui Woo, the statues channel Prospero with a surprising degree of realism.

One Word More follows Rosencrantz and Guildenstern are Dead’s lead by tracking minor Shakespearean characters in the space between pages to ask tough questions about life and shared experience. Dias and company turn the “great explorer” mythos of Prospero and Lewis & Clark on its head and slowly restore stolen agency to Sycorax, Caliban, and Native Americans – one performance at a time.

One Word More:

Writer and Performer: Annalisa Dias
Director: Bridget Grace Sheaff
Costume Designer: Tori Boutin
Sound Designer: DeLesslin George-Warren
Lighting Designer: E-hui Woo
Sculpture Artist: Brian Fernandes-Halloran
Stage Manager: Amanda Zeitler
Production Support: CulturalDC





The Washington City Paper 2016 Best of D.C. winners have been announced, and CulturalDC is thrilled that the excellent work by Arts Walk at Monroe Street Market artists and residents at Source have been recognized.  #WeMakeSpaceForArt:

Arts Walk at Monroe Street Market Artist – Best Commercial Art Gallery 2016:

Arts Walk at Monroe Street Market Artist – Best Local Crafter 2016:

*RUNNER-UP – Arts Walk at Monroe Street Market Artist Kuzeh Pottery (Studio #18)

Source Theatre Resident – Best Theater Company 2016:




Annalisa Dias on How Theater Can Change the World


DC Theatre Scene (Logo)

Annalisa Dias on How Theater Can Change the World
April 1, 2016 by

I have yet to come across a theater artist who dreams bigger than Annalisa Dias. She has facilitated and studied theater on several continents. She has produced, directed, dramaturged, devised, designed and performed in a plethora of productions on DC stages. Not only has she done all of these things, but she has developed and is developing through her work the kind of philosophy that may alter DC’s theatrical landscape and perhaps change the world. So I couldn’t pass up an opportunity to chat with her at Busboys and Poets about social justice, capitalism, how bodies can change the world, and why a pencil may be more than just a pencil.

Annalisa Dias, theater-maker

Alan Katz: What do you do?

Annalisa Dias: I make theater. The other day a friend tried to introduce me to somebody, and he didn’t know how to say what I do. He said, “Well, she’s an actor, but she’s a playwright, but she’s a director, but…” What I say is that I make theater by any means. So, if I need to be a playwright, I’ll be a playwright. If I need to be a director, I’ll be a director. If I need to be a performer in the piece then I’ll be a performer. I’ve done scenic art. Costumes. The only things I haven’t tried to do yet are scene design and sound design. I’ve done most everything else.

AK: What are you focusing on right now?

AD: I would call it devising, but maybe creating is the best way to talk about it. And, in creating new work, I’m taking on a a few different roles: partly as performer, partly as a playwright and partly as a devising artist.

The thing that unifies my work is social justice. Everything that I do has something to say about a social injustice that I perceive in the world.

AK: So you work toward awareness? Solutions?

AD: Both. There’s never an easy solution to any systemic injustice, but I do think that you can instigate productive dialogue by making art. And it’s through dialogue in a shared space that solutions, multiple solutions, can be found.

AK: Why social justice?

AD: What do you mean?

AK: Most theater artists I know, while they might be for social justice – that’s usually not the reason that they do theater. So why social justice? 

AD: I see my training in physical theater as integrally linked to the work that I do in the [social justice-oriented] Theater of the Oppressed because the American system of training actors is so reliant on psychological realism and theStanislavski system. So much that I find that actors, broadly, not all of them, but broadly-speaking, don’t know how to use their bodies generally and specifically don’t know how to use their bodies in abstract ways to create art. It becomes all about “psychological intention,” putting the words and the text first.

I find that to be problematic societally. We are so conditioned to sit at a computer, be “productive members of a society” and output, output, output. The meaning of life is all about the things that you’re producing. And we forget that we have bodies. We sit at these computers, in front of these screens, and, although we’re connected virtually in all of these different ways, we forget that our bodies are expressive and our bodies can do things and communicate connectively.

Annalisa Dias performing One Word More

AK: What is the connection between engaging the body and social justice?

AD: Capitalist society benefits from people forgetting their embodiment and their humanity. Capitalist society relies on people becoming parts of the machine and less and less human. And I think that’s destroying the world.

So, for me, a way to combat that at a very grassroots level is to work with the body. When I work with women at  N Street Village who have never done actor training before, I get to do this introductory workshop with them where I get to see them accessing the expressiveness of their own bodies at a fundamental level. When we’re young, we play and our bodies are connected to our minds in a way that they’re not now. We forget that as we go through life and become capitalist output machines.

AK: So, for you, the separation of the mind and the body is the fundamental instrument by which social injustice is perpetuated.

AD: Yes, but there’s another layer to it. There is the problem of separation of mind and body but that then functions to allow people to separate themselves from community.

AK: How so?

AD: It allows people to envision themselves as separate from the people—the bodies—that are around them. Like all of these people in this restaurant have no effect on me because I envision myself as not related to them because I can, for example, go on my phone and connect to whatever is virtual and is not part of my embodied space.

A line in One Word More —which I stole from John Donne— is “No man is an island.” That’s fucked up.  And I hate that. I hate that we think we’re all these little islands. That we don’t have any effect on each other.

AK: So the way that you can heal or combat social injustice is bringing someone’s self, their mind, and connecting it with their body. Then connecting that now whole organism with other whole organisms. And that’s hope. So, how does that work, practically?

AD: [laughing] Sometimes it doesn’t!

If I’m the primary generative artist in a room where art is being made, I tend to delegate my authority in that room so that we’re all creating a piece of work together. In the United States, we’re very reliant on the playwright and director as authoritative figures in the artistic process. But for me as an artist, it is important to value people’s voices, value their artistic input into my work and allow the other artists to influence them as they’re generating ideas and words. We can’t exist in these little island bubbles of “I only do this one thing.”

People are so trained not to step on each others’ toes by the American theater system. We’re trained to be dictators over our own little worlds. We don’t want to trespass in the yard of another artist. People just want to do their thing and then go home. And that’s the end of that. So it’s difficult sometimes if people aren’t used to a co-creative process to, like, break out of the training. That’s the work I do in Theater of the Oppressed.

Theater of the Oppressed aims to flip traditional power structures on their heads.  In a traditional power structure in a theater space, you would have the director or the playwright who dictates what happens, then the actors follow what they say when they present a piece of work to an audience. The audience sits there and receives information from the artist. Then they go home and that’s the end of the relationship. With Theater of the Oppressed, you ask for input from both the actors and from the audience, then the director/playwright puts that into the piece of art. So it’s more about a communal process of art-making.

AK: You have a couple of different projects coming up; let’s talk about how you try to invert power structures in them.

AD: Right now, I am working at the N Street Village and doing a series of movement workshops, beginning theater workshops with women who are experiencing homelessness. In those workshops, we’re doing a combination of Theater of the Oppressed games.

AK: Give me an example of one.

AD: My favorite Theater of the Oppressed game is a game called “Homage to Magritte.” You know the painting “The Treachery of Images?”. It’s a painting of a pipe that has “This is not a pipe” written on it in French. You get to talk about the questions of, “What is reality?” “Are things what they appear to be?” and “Can they have other meanings?” Then you take an object and put it in the center of a circle where all the participants are sitting around. You ask people to pick up that object and use it in a way that shows it as something that it is not.

So, put a pencil in the middle of the room. Maybe pick up the pencil and use it as a rolling pin. You could make it into a baseball bat, or whatever your idea is. You can’t use any words or sounds. It’s just about picking up an object and using your body to show it as something other than it is.

And it’s pretty stunning to see people who aren’t asked to use the muscle of their imagination on a daily basis struggle, at the beginning, with play. Then people get the hang of it. They open up, and it’s amazing to watch people access that space of creative play. The best part is having a dialogue at the end about why is it so difficult to imagine, to really see an object as having functions other than what we were taught they had. The conversation usually turns on this: if we can’t imagine the world other than it is, then who is going to?

If I can’t imagine a world in which homelessness is not a problem, then who’s going to do that? Who is going to create that world? You have to be able to imagine the change and then enact it. Imagination is a thing that capitalist society, to go back to my apparent loathing for capitalism, teaches us not to have. We’re conditioned not to use our imagination. We’re conditioned to be part cogs of this machine. Do our thing. Go home. Watch TV. Go to bed. That’s that’s what we do. We don’t imagine the world as different. For the most part.

AK: The next thing after your N Street village classes is a play called One Word More. What is that?

AD: Briefly, it’s a reimagining of Shakespeare’s The Tempest from the perspective of Sycorax, who is the erased female voice. She never appears in The Tempest, but she’s referred to by Prospero and Caliban. We never see her body. So this piece is really an interrogation of the historical erasure of women’s voices and bodies from both society and history.

AK: How is that process?

AD: The group of folks that I’m working with are incredible. In December 2014, we did a draft workshop at Shakespeare Theatre Company’s Happenings at the Harman. That draft is about 30 minutes long and I haven’t really touched it since then.

That is our common starting place for how are we going to evolve together as artists. It’s difficult for me in a surprising way  to relinquish authority over this piece because it’s so personal for me. This piece, in its previous iteration, meant a lot to me as an artist. It was the first time that I gave myself permission to be a performer as a professional. It means a lot to me. So it has been surprisingly difficult to relinquish my authority over what the piece is, but, if we’re going to have an authentically co-creative experience, I need to be okay with allowing other artists to influence the product.

It’s scary. But at the same time, it’s exciting to me to create art that is built on relationships with people. Rather than like relationships with ideas.

AK: You create your own community, and that’s a model for how you want the rest of society to look. These are two pretty neat and pretty different projects you’ve got running.

AD: Oh, they’re not separate at all. The work that I’m doing at N Street Village is directly connected to One Word Morein that I’m hoping for two things: that some of the women who I work with will come and be part of the audience forOne Word More. And I’ve invited a couple of them to lead post-show dialogues about the erasure of women’s voices and what that means in the DC community specifically. There’s a very important and symbiotic relationship between the actual art that I’m producing and the work that I’m doing in the community, and with the Welders.

AK: Why is it important to you that they not be separate?

AD: It goes back to that idea that no man is an island. Like people, Art doesn’t exist in a vacuum. It should exist in the community. Art should be made for the community. Art needs to be part of the community. No art should be an island.

One Word More now through April 30 at CulturalDC’s Mead Theatre Lab at Flashpoint.


[The interviewer thanks Meghan Tucker-Carafano for her help in transcribing this interview.]


One Word More (PR)

Annalisa Dias: ONE WORD MORE presented through CulturalDC’s Mead Theatre Lab Program April 8 – April 30, 2016


One Word More (PR)

March 7, 2016
Contact: John Richards

April 7- April 30, 2016
Opening Night/Press Night April 8, 8PM 

Washington, DC – CulturalDC is pleased to present One Word More from April 7-30 at the Mead Theatre Lab at Flashpoint. This innovative physical adaptation of The Tempest interrogates the historical silencing of women’s voices and the dynamics of isolation, communication, and power.

The piece examines the world from the perspective of Sycorax – a powerful female character in Shakespeare’s The Tempest, who the audience only ever hears about through the voices of men. One Word More gives Sycorax back both her voice and her body and asks what happened on the island before its overthrow by Prospero. The piece will feature dynamic physical theatre, original sculpture installations, a cutting-edge combination of recorded and live sound design, and intentional investigation of the contemporary legacy of colonial oppression.

The creative team features DC-based playwright and performing artist, Annalisa Dias (as writer, performer, producer); director and dramaturg, Bridget Grace Sheaff (devising director); playwright and actor, Amanda Zeitler (stage manager, collaborator); performance artist and experimental composer, DeLesslin George-Warren (sound designer); visual artist, Brian Fernandes-Halloran (set and installation design); dramaturg, Otis Ramsey-Zoe (devising dramaturg); and dramaturg and performer, Tori Boutin (front of house coordinator).

The project includes a radical partnership with N Street Village that asks us to bear witness to silenced voices in our own community. Throughout the devising and rehearsal process, Annalisa Dias is offering a series of physical theatre classes to women in the N Street Village community, with the goal of empowering women to feel ownership over their voices and bodies. The team will invite women from the N Street Village Community to attend performances, and to help host dialogues about the silencing and erasure of women’s voices in DC.

This project is presented through the Mead Theatre Lab Program, a project of CulturalDC, and was originally conceived by Annalisa Dias & Alex Mills as part of the Shakespeare Theatre Company’s Happy Hour at the Harman Series. 


Writer & Performer: Annalisa Dias
Devising Director: Bridget Grace Sheaff
Stage Manager & Collaborator: Amanda Zeitler
Set & Installation Designer: Brian Fernandes-Halloran
Devising Dramaturg: Otis Ramsey-Zoe
Sound Designer: DeLesslin George-Warren
Front of House Coordinator: Tori Boutin


Dates: April 8 – April 30 / Thurs-Sat 8 PM, Sat 2 PM, Sun 3 PM
Pay What You Can preview: April 7
General admission: $20 | Student and Military ID: $15 | TICKETS
Location: Mead Theatre Lab at Flashpoint – 916 G Street NW, Washington, DC 20001

Luce Foundation Center artist talk:
Saturday, March 19, 1:30pm
Smithsonian American Art Museum, Third Floor

More information online at

About the Mead Theatre Lab Program

The Mead Theatre Lab Program at Flashpoint, a CulturalDC project, is generously sponsored by Jaylee Mead. Additional support is provided by The Dallas Morse Coors Foundation for the Performing Arts, the Max & Victoria Dreyfus Foundation, the Mary & Daniel Loughran Foundation, The Washington Post Company and The Weissberg Foundation.

CulturalDC is generously supported by The Morris and Gwendolyn Cafritz Foundation, DC Commission on the Arts and Humanities, The Community Foundation for the National Capitol Region, Daimler, The National Endowment for the Arts, AT&T, Microsoft, Washington Gas, Weissberg Foundation, Altria, Anonymous, Busboys and Poets/Eatonville, Hank & Carol Goldberg, Lockheed Martin, Menkiti Group, Prince Charitable Trusts, Stephen Stein and VOA Associates.

Visit the CulturalDC website at and follow CulturalDC on social media (Facebook,
Instagram, and Twitter) for updates on this and all of our exciting projects. #WeMakeSpaceForArt 

CulturalDC • 916 G St, NW • Washington, DC 20001
General: 202.315.1305 • Press: 202.315.1322 • Fax: 202.315.1303 • Email:




Spring 2016 flier - 1pg (RESIZED)


Helen Hayes Award Web

Nominations for the 2016 Helen Hayes Awards


hha noms_revised


The 2016 Helen Hayes nominations have been announced, and CulturalDC is thrilled that the work of our affiliated artists is being recognized. #WeMakeSpaceForArt:

Mead Theatre Lab Resident – Helen Hayes Nominee:

 Pointless Theatre Co. – Doctor Caligari

Mead Theatre Lab Renters – Helen Hayes Nominee:

 Forum Theatre – One in the Chamber

Source Theatre Resident – Helen Hayes Nominee:

 Constellation Theatre Company – Avenue Q (14 Nominations)

 Constellation Theatre Company – The Lieutenant of Inishmore

 Constellation Theatre Company – The Fire and The Rain

CulturalDC’s Community Impact:

  • *Dontrell, Who Kissed the Sea, a play developed and produced at Source Festival 2014 received 5 nominations for a subsequent production at Theatre Alliance
  • Very Still & Hard To See, a play written by Source Festival alum Steve Yockey, and produced by CulturalDC’s Jenny McConnell Frederick at Rorschach Theatre also received 5 nominations

*Source Festival Productions are not Helen Hayes eligible due to the limited number of performances in the Festival format.

You can read the full list here: 2016 Helen Hayes nominations



Art Hotel (Rendering by BBGM)

CulturalDC Announces Partnership in the creation of an arts program at new boutique hotel at 411 New York Ave.


Art Hotel (Rendering by BBGM)

 (Rendering by BBGM)

January 29, 2016
Contact: John Richards

CulturalDC Announces Partnership in the creation of an arts program at
new boutique hotel at 411 New York Ave.

WASHINGTON, DC – CulturalDC has partnered with Washington, DC developers, D.B. Lee Development and Construction and Brook Rose Development in the creation of an arts program at the heart of a new boutique hotel at 411 New York Ave. NE in DC.

The hotel will maximize opportunities for artists to work, present and collaborate, and will serve as a gateway to the surrounding creative community.

CulturalDC was approached by the development team to envision an ambitious plan that would be more than just a white cube environment. The proposed hotel project includes artists’ studios, gallery and exhibition space, a sculpture garden, a community classroom, with portions of the ground floor, hallways throughout the hotel, all of the 2nd floor and most of the 11th floor being dedicated to the arts.

CulturalDC will solicit proposals from artists of all disciplines for studio spaces, exhibitions, and programming opportunities, and will engage panels of experts and advisory groups to identify appropriate models and programming for artistic inclusion that will reach a broad range of audiences.

“CulturalDC exists to advance the interests of artists and arts organizations here in Washington, DC,” said CulturalDC Interim Executive Director Tanya Hilton. “We are looking forward to working with this team to further expand DC’s creative economy, as well as its leadership role in arts and culture.”

CulturalDC has an 18-year history of creating affordable, sustainable artist spaces in the District, including live-work spaces such as Mather Studios and the upcoming H-Space project; the 27 artist studios at The Arts Walk at Monroe Street Market; and free or subsidized performance and exhibition space at Flashpoint Gallery and Mead Theatre Lab. CulturalDC’s involvement in establishing the Atlas Performing Arts Center on H Street and Source theatre on 14th Street has re-invigorated the arts in those neighborhoods. These endeavors reflect a mission dedicated to making space for art and artists.

Visit the CulturalDC website at and follow CulturalDC on social media (Facebook, Instagram, and Twitter) for updates on this and all of our exciting projects.

CulturalDC • 916 G St, NW • Washington, DC 20001
General: 202.315.1305 • Press: 202.315.1322 • Fax: 202.315.1303 • Email:

Lady Godiva (PR Image)

CulturalDC’s Mead Theatre Lab Program presents a workshop performance of LADY GODIVA by Cristina Bejan, Produced by Bucharest Inside the Beltway

Lady Godiva (PR Image)

CulturalDC’s Mead Theatre Lab Program presents a workshop performance of LADY GODIVA
by Cristina Bejan 
Produced by Bucharest Inside the Beltway 

Don’t talk or they’ll hear you. The inherited trauma of communist Romania. So Cristina Bejan was silent for ten years. LADY GODIVA is her story of rape. The piece is a collection of spoken word poetry and essays she has written for herself that explore hope, cultural taboos, mental health and the power of trauma victims to overcome and triumph. Performed by Muslima Musawwir, LADY GODIVA is directed by DC’s Star Johnson.

SOURCE Theatre Rehearsal Hall, 1835 14th Street NW, Washington, DC 20009
(Please note, the Rehearsal Hall is not ADA accessible)

ONE NIGHT ONLY: Monday, February 8, 2016, at 7:30 PM | Duration: 45 minutes

Performance followed by talk-back with Rape Abuse and Incest National Network (RAINN).
PAY-WHAT-YOU-CAN (PWYC). All proceeds go to RAINN.

*The procession of the play’s mattress will begin at 7:10 PM from Busboys and Poets on 14th and V. The show’s artistic crew will carry the mattress to Source Theatre and upon their arrival, the show will begin at 7:30 PM.


CulturalDC’s Mead Theatre Lab program is an intensive mentorship program for performing artists and independent theatre companies. The program provides theatre space, technical production support and production mentoring. A panel of noted DC theatre professionals recommends projects and provides guidance to the chosen producers. The result is an eclectic group of innovative, edgy productions and an environment in which emerging performing artists can grow.

The Mead Theatre Lab Program at Flashpoint, a CulturalDC project, is generously sponsored by Jaylee Mead. Additional support is provided by The Dallas Morse Coors Foundation for the Performing Arts, the Max & Victoria Dreyfus Foundation, the Mary & Daniel Loughran Foundation, The Washington Post Company and The Weissberg Foundation.

CulturalDC is generously supported by The Morris and Gwendolyn Cafritz Foundation, DC Commission on the Arts and Humanities, The Community Foundation for the National Capital Region, Daimler, The National Endowment for the Arts, Microsoft, Washington Gas, Weissberg Foundation, Altria, Anonymous, Busboys and Poets/Eatonville, Hank &Carol Goldberg, Lockheed Martin, Menkiti Group, Prince Charitable Trusts, Stephen Stein, VOA Associates. 

Visit the CulturalDC website at and follow CulturalDC on social media (Facebook, Instagram, and Twitter) for updates on this and all of our exciting projects.  #WeMakeSpaceForArt

CulturalDC • 916 G St, NW • Washington, DC 20001
General: 202.315.1305 • Press: 202.315.1322 • Fax: 202.315.1303 • Email:

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