Upstate Alliance for the Creative Economy
Artist Rodney Alan Greenblat, world famous for his whimsical, vibrant, and fun artwork, is the owner/operator of the Rodney Shop boutique, one of the many artist-run boutiques on Main Street in Catskill, NY. His interest in art began as a young child and he was propelled into the arts world with his first “gig” doing an illustration for his school PTA handbook at the age of 11.
As a sculptor and painter, his work became an integral part of the East Village Art scene of the 1980s, where he had several one person shows at the legendary Gracie Mansion Gallery. In 1985 his large sculpture “Ark of Triumph” was featured in the prestigious Whitney Museum Biennial exhibition.
In the 1990’s Rodney took on another title, and published four children’s books published by Harper Collins. Uncle Wizzmo’s New Used Car, Aunt Ippy’s Museum of Junk, Thunder Bunny, and Slombo The Gross.
When newer technologies started to revolutionize the video game industry, he became the artistic force behind the best selling game for Sony Playstation called “Parappa The Rapper.” This led to a whole line of products distributed in Japan, and a weekly animated television series. Rodney is known as one of the world’s top character designers.
Rodney is a great example for artists everywhere, especially younger artists. He is a living breathing example of how a passion for the arts can lead to many options beyond the stereotypical “starving artist” if that talent and passion is nurtured and supported.
His artwork is shown regularly at the prestigious BCB ART gallery in Hudson NY. His wares can be purchased online, or in the Rodney Shop store at 362 Main Street in Catskill NY.
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Article by Ashleigh Kinsey
ACE’s Ashleigh Kinsey spoke with Meg Affonso, a creative who is a creative in every sense of the word – singer,dancer, actor, model, yogi, and now producer! Meg shares her journey as a creative and what led her to collaborating with other creatives to present the production of Ntozake Shange’s for colored girls who have considered suicide when the rainbow is enuf and The Women of Color in the Arts Expo in Albany NY.
Where are you from, and where do you live now?
I was born and raised in Martinsburg, WV. I have lived in the Capital Region of NY for 12 years.
Did you seek out higher education, or are you self taught? Where did you study?
I studied Musical Theatre at Shepherd University for a few years before moving to Upstate NY. I then went on to study Meisner Technique with the Deena Levy Theatre Studio in NYC. Most of my training comes from being on set and around the stage.
Would you say you have always been a creative person? What other work have you done?
Creativity is in my bones. I began singing in my church at age 4 and formal dance lessons started at age 5. This was where my creativity really started to come out of its shell! I loved my dance lessons, so I cannot recommend them enough. If you have a creative child who is interested in that sort of thing, you could take a look at DivaDance to see if you could get them some lessons. I’m sure they’d love it and its so good for creativity and confidence building as well! Then, once my dancing and singing skills were practised, I became involved in the local theatre scene at 14. I’ve performed in plays, films, web series, commercials and occasionally do freelance modeling.
How did you become interested in your industry?
I’ve always been an entertainer and once I discovered how to tell a story through performance, I was hooked for life. There was a period of time that I stopped performing and doing creative work; I was discouraged because my life wasn’t working out the way that I had hoped it would. I had a child very young and I needed to find a means to an end to be financially stable, so I left the creative stuff behind and tried to move forward. Fortunately, my creative work wouldn’t let me go and I was forced to face it, to begin again. Beginning again didn’t come without some uncertainty and embarrassment. I’ve had my share of terrible auditions and worked through the awkwardness of learning how to communicate what I need. A true artist is not one who loves the work, but one who cannot live without it.
Did you have a defining moment that pushed you to start working on your production?
This play has been nagging at my mind for 9 years. From the moment I read Ntozake Shange’s choreopoem, it struck a chord in me that had never been struck before. Having gotten back into professional acting in the past 3 years has put me in a lot of situations where I recognize that I am sometimes the only person of color in the room for an audition or on set. I wanted to celebrate the beauty of black women artists in all their forms and this was the way to do it. I’ve also entered a point in my life where it’s time to tell my own stories, so I have been writing a few short films and I am beginning the process of directing a documentary. This whole process occurred all because my heart and my mind won’t let me rest. I want give life to stories that will help heal myself and others in the process, specifically women. I want to start a conversation and give people space to share their stories, as well.
What does running a production like this entail?
This is my first time producing and it’s probably the most difficult thing that I have ever done, but it is also incredibly rewarding. As the producer, I have had to find funding, secure the location, secure rehearsal space, hire creative talent + crew, be responsible for everything that goes along with promoting the production and more. As the director & choreographer, I am responsible for bringing the story to life through blocking, dance and working with my actors. There’s a lot that falls on my shoulders because I am doing so many things at once, but I am incredibly blessed to have a great crew, cast, mentors and a supportive network of people who want this to be successful.
What would you tell others who are aspiring to be doing what you are doing? What would you have done differently? Any advice?
The most important thing for others who are aspiring to do what I do, is to have people around you that can advise you though the process. I am doing well because I have a wonderful support system of other creative professionals who know more than me, which is quite possibly the most important asset that anyone can have. Don’t be afraid to ask for advice or help. Don’t be afraid to ask more than one person for advice or help. Don’t be afraid to admit when you don’t have all of the answers, because you never will. The second most important thing is to start where you are and be okay with that. It’s so important for artists to be able to do their own work and tell their own stories. Advocate for yourself. I don’t know that I would have done anything differently, except begin sooner. I have no regrets, only lessons. A piece of advice for artists making their own work is to begin the grant process early, if you’re going that route. It’s very time consuming and a lengthly process. Also be prepared to hear ‘no’ frequently, but keep going. Be honest with yourself about where you need to improve and be flexible about working with what you have until you can work with what you want.
What would you like the community to know about the local arts scene and creative economy?
The local arts scene and creative economy is rich and diverse. I myself am excited to become more immersed in it. We have a huge theatre scene, visual arts, dance, music & several films are made in Upstate NY each year. Go out and experience all of the different art forms, support one another, spread the word and if you don’t know here to begin – ask around.
If there was one thing you would change about our creative economy, what would it be?
This goes without saying, but there has to be more diversity. Employers, theatre companies, filmmakers, producers, galleries, creative businesses must be aware of having workspaces that are conducive to a positive environment for women and people of color. I’m not talking about filling your quota of diversity, having your one woman at the top, or your token person of color, but I am saying make space for everyone and be consciously aware of the environment that you create. Advocate to see more art by women and by people of color, ask for it, show up for it and PAY for it. Hire that female director. Fund that female producer. Demand equality and set the standard for it to be commonplace.
Lotus & Bamboo Productions + Albany Barn are proud to present the production of Ntozake Shange’s for colored girls who have considered suicide when the rainbow is enuf & The Women of Color in the Arts Expo! On September 27th we will be debuting the SHOW ONLY at 6 p.m. On September 28th & 29th doors will open at 5:30 p.m. and the show will begin at 6 p.m. The Expo will immediately follow the production on September 28th & 29th. You will be able to mingle, enjoy art in all forms and shop a variety of artistic items + pieces.
The Expo on Friday, September 28th will feature live music by Audrey Zaccarya & Sibie LaVoz, spoken word by D. Colin, an art exhibit + sale with work from Takeyce Walter, Danielle Colin, Anusha Sekhar + Paula Frazzle, vendors, light passed hors d’eouvres by 677 Prime, plus Beer + Wine cash bar by Umana Restaurant & Wine Bar.
The Expo on Saturday, September 29th will feature DJ Poetik Selektions, moving art by Victoria Rutledge with live drumming, vendors, women of color in food showcase & sampling, plus a Beer + Wine cash bar by Umana Restaurant & Wine Bar.
Sponsored by Albany Barn, Mantralogy, Ungerman Electric, Fifi’s Frocks & Frills, 677 Prime, Umana Restaurant, The Good Karma Studio, Heart Space Albany, Jai Albany, Yoga Mandali, CHEEK by Re’z Cosmetics, Yoga Garden, Mel eMedia, and Birth New York.
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Where are you from, and where do you live now? I’m from Latham, NY and I live in Albany, NY
Where did you attend school? What did you study? I graduated from Shaker High School and then graduated from Ithaca College with a BA in Psychology.
Family? I’m the oldest of six kids and really only grew up with my immediate family, but they all live locally to this day.
What Job titles have you held? I’ve been at the Palace for a year and 7 months. I started in the Box Office as a Ticket Seller and then after 6 months I was promoted to Part-Time Event Night Supervisor and 10 months later I was promoted to Development Manager and Community Events Coordinator as a part of the Development Department here.
What got you interested in performing arts and acting? I honestly feel like I was born this way. I am the oldest of a tribe of children and I always turned our play time, into full scale productions in which I did costumes, constructed the set, directed and was the lead actor, hahaha! Everything I was involved in, until I finally began to perform in middle school, I brought to it, this very dynamic, performance aspect to it until I finally found my home on stage.
Do you have a favorite role you’ve played? Which? Last March, I played Mrs. Mueller in DOUBT at Schenectady Civic Playhouse.
As an actor and an administrator, how does this impact your daily life and how do you find balance? I wish I could answer this in a more beautiful and inspiring way but the honesty and transparency is that I don’t always succeed at finding the balance. There are some days that I’m learning my lines frantically, backstage, as I’m awaiting my scene to approach. There are some days when I arrive to work two hours early because of the guilt of not being able to stay later the night before. There are days when I’m so exhausted, I feel like I feel it in the very tips of my fingers and toes and I’m just praying to get through the week and I ask myself, why do I continue to do this? The answer; I can’t NOT do this. On days when I am unsure about everything, that is the one thing I am completely certain of; I was meant to be an actor.
What does your job at The Palace entail? What do you enjoy about your job? I have a really big, community relations, aspect to my position here at the Palace. A key component to my roles and responsibilities is being the point of contact for all of our non-commercial events and help engage and potentially reengage the community in a way they may not have otherwise had a relationship with the theatre. I love the community. I truly and genuinely enjoy and am filled with immense gratitude to be afforded this opportunity to truly serve my community and through arts engagement. I have been so impacted by the arts and the ability to use the arts to connect, include, build, rebuild, and heal and to be able to share that with the community as both a professional and an artist; let’s just say the beauty isn’t lost on me.
Many people leave a job in order to grow and move ahead in their career but you’ve been able to grow and see opportunities for growth in your field while staying at the Palace. How have you navigated that? Well, I actually had a long-standing, retail managerial career that I left before I ended up at the Palace. I took a major pay cut and decided, that it was time to think about and take a chance on myself and what truly makes me happy.
Life is so unimaginably short and we only get one; what is the point if we don’t take every gift, privilege and opportunity afforded us and do something really amazing with it? My time, here at the Palace, has been relatively short in comparison to that eight-year career, but it has been so rich in experience and fulfillment. From working in the box office and getting to give amazing customer service and be a part of how excited people would get over their favorite artists or children absolutely beaming at the opportunity to see a movie or performance for the very first time in a theatre, to working in Development and getting to put together a film screening of, “I Am Evidence,” during Sexual Assault Awareness Month to call attention to the significant number of cases that have had justice impeded by backlogged evidence and then to take on the amazing, “Summer in the City” Program, to allow the community children a free movie series, incorporating their favorites, that allows them to enjoy the place that has really become my second home; this has been a once-in-a-lifetime experience for me.
I truly believe in the mission and vision of the Palace Theatre and what we have and will continue to contribute to the local arts community and now, when I’m at home, still working or thinking about something work related, it’s not simply to hit a sales goal. I have a real opportunity to make a difference, in my own, totally unique way. That being said, it’s easy to think of longevity here instead of moving on to another job, because here, I can create opportunities for myself and others.
What’s one thing you want the community to know about the local arts scene? It’s larger than you think and probably just a Facebook invite away. [/cs_text][/cs_column][/cs_row][/cs_section][/cs_content]
On Monday, June 4th, a packed house of Creatives took part in a workshop entitled “CFA Opportunities for the Creative Economy,” and got a chance to hear from and ask questions of members of the New York State Council of the Arts (NYSCA), Regional Economic Development Council (REDC), and Empire State Development (ESD) about the millions of dollars of state funds made available through the Consolidated Funding Application (CFA) process (yes, that’s a lot of acronyms!). The application process can be daunting for newcomers and experienced organizations and companies alike, so this unprecedented chance to hear from those who’ll be reviewing scores of applications was beneficial to all parties involved.
Philip Morris — a member of the REDC and CEO of several CFA grants for Proctors, Cap Rep, and Universal Preservation Hall — recommended that grant requests be “real — don’t make something up just to fit the guidelines. The panelists can tell if it’s a project that’s really true to your mission.”
Melissa auf der Maur, founder of Basilica Hudson, which was awarded two CFA grants last year, recommended that applications be “relevant to both your local community and to the region” and recommended that applicants “really make a strong financial case” about how much is invested and what all of the outcomes of your project will be.
Mike Yevoli of Empire State Development recommended that applicants review CFA guidelines as well as the REDC’s goals before applying.
Andrew Meader of the REDC encouraged people to not be put off if their projects aren’t funded the first time out, citing the Park Theater project in Glens Falls, which was funded on its third try.
Sunita Iqbal of NYSCA recommended that applicants contact NYSCA with questions before the July 9th “inquiry deadline.”
The Capital Region has received $521.9 million from the state to support 718 projects through the Consolidated Funding Application since 2011, but all of the panelists emphasized that the application process itself is extremely rigorous, as are the reporting demands that take place after receiving a grant, and that not every organization and project will benefit from the amount of work that the CFA grants require.
For other questions about the CFA process, visit the CFA site or contact ESD at (518) 270-1130.[/cs_text][/cs_column][/cs_row][/cs_section][/cs_content]