The bodies of multiple Atamira Dance Company dancers are edited to form the infinity symbol with their bodies on a black background.
Grant support is available for presenting Atamira Dance Company’s Te Wheke through the 2022-2023 Performing Arts Global Exchange program. Credit: Courtesy of Atamira Dance Company.


Open to presenters nationwide, the Performing Arts Global Exchange (PAGE) is an annually curated roster of international performing artists selected to tour to communities across the United States. Each year, two countries are featured with a selection of artists across multiple disciplines. The program provides fee support directly to nonprofit presenters programming artists from the roster, and presenters host both public performances and community engagements in achieving the program’s goals of cultural exchange and understanding.

Working in cooperation with the National Endowment for the Arts, the current PAGE cycle will present U.S. tours in 2022 – 2023. Artists on the roster have not widely toured in the United States and reside in a selected region. This year’s roster features artists based in Australia and New Zealand.

Why Performing Arts Global Exchange?

Presenting international artists offers an opportunity to engage in the rich diversity of cultural expression throughout the world, but it also requires resources that aren’t always available. Travel expenses, visas, and routing are often barriers to presenting international artists, especially in the U.S.’s more remote communities. PAGE seeks to ease some of those burdens for U.S. presenters by working with international curators to identify a region’s most exciting, tour-ready artists and provide grant support to bring them to the U.S. PAGE especially seeks to support performances in communities with reduced access to international performing arts due to geography or other features.

PAGE Presents: Australia and New Zealand

This year, Performing Arts Global Exchange will feature a roster of artists based in Australia and New Zealand. Featuring music, dance and theater ensembles, this roster offers presenters the opportunity to affordably feature international artists in their programming and community engagement activities.

Performing Arts Global Exchange is a program of Mid Atlantic Arts in cooperation with the National Endowment for the Arts. The 2022-2023 program has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

In developing the 2022-2023 PAGE program, Mid Atlantic Arts gratefully acknowledges the collaboration of:

Australia Council for the Arts
Boat Rocker Entertainment
Creative New Zealand
CWA Management
Indigenous Performance Productions
Norman Armour, Australia Council for the Arts
Wesley Enoch
Leah Flanagan, National Aboriginal & Torres Strait Islander Music Office at APRA AMCOS
Leah Harrison
Larry Heath, Sounds Australia

Australia Council for the Arts Logo
Embassy of Australia Logo

Artist Selection

The Mexico and Canada grants have been awarded, however due to circumstances created by the COVID-19 pandemic, some funding remains available to U.S. presenters who wish to join existing tours (dates vary; most are in 2022). Visit the “Current Grantees & Tours” tab to see the Mexican and Canadian roster artists and their existing tours, and to contact the artist’s agent for details.

How artists are selected for the PAGE roster:

The 2022 – 2023 curation of the Performing Arts Global Exchange roster involves many voices.  

  1. Curators living and working in the region of focus are selected each cycle by Mid Atlantic Arts and the National Endowment for the Arts (NEA) to provide artist roster suggestions. The curators have expertise in the performing arts specifically in the selected region.
  2. Then, Mid Atlantic Arts staff and the NEA review these nominations and select a reduced pool of nominated artists that best fit the program objectives. Consideration is given to broad geographic appeal, aesthetic variety, affordability, diversity, and inclusivity.
  3. Next, feedback on these potential roster artists is gathered via an online survey of U.S. presenters.  
  4. Mid Atlantic Arts and the NEA select the final roster, weighing presenter feedback and program goals. (Approximately October 2021) 

Presenters who would like to provide feedback on the roster artists under consideration via survey should contact

The Curators:

Alethea Beetson | Australia

Headshot of Althea Beetson. She is outside with tropical plants in the background. She wears a dark black t-shirt with the Aboriginal flag.

Alethea Beetson is a Kabi Kabi/Gubbi Gubbi + Wiradjuri artist and producer who has worked extensively with Indigenous communities across multiple art forms to inspire new works responding to societal issues, cultural heritage, and colonization. She is currently the First Nations Producer at BIGSOUND, First Nations Curator (Music) of Brisbane Festival, and Artistic Director of Digi Youth Arts. Her research explores the function of insurgence and resurgence in the creative development and production of Indigenous performance. In 2020, Alethea founded Blak Social, a multi-arts company that will hold a residency at The Tivoli from 2021 to 2022.

Merindah Donnelley | Meanjin | Queensland, Australia

Headshot of Meridah Donnelly. Merinda is shot against a dark blue background and wears a dark top and traditional collar necklace.

Merindah Donnelly is a mother, partner, and proud Wiradjuri woman living in Meanjin, Queensland as a guest on Turrbul and Yuggera homelands; she is currently the Executive Producer at BlakDance. Merindah has worked in market development at the Australia Council for the Arts and as producer for major Australian Indigenous performance gatherings. Merindah sits on the First Nations advisory group for Australian Performing Arts Market, is part of Global First Nations networks internationally, and recently completed a Masters in Cultural Leadership at NIDA. Merindah is also a curator at Brisbane Festival.

Shona McCullagh | New Zealand 

Shona McCullagh headshot. Shone is shot against a blurred outdoor backdrop. She wears a black blouse and bright green jacket.

As an Arts Laureate, Member of the NZ Order of Merit, creative entrepreneur, and the Artistic Director of Auckland Arts Festival (AAF), Shona McCullagh has a background as a dancer, choreographer, writer, director, filmmaker, collaborator, and installation artist. She co-founded The New Zealand Dance Company and has a long history of collaboration with other art forms, creating extensive work for theater, television, and film, including internationally acclaimed short dance films as a writer, choreographer, and director. She was a co-founder of the Watershed Theatre, founder and Director of The Human Agency and Human Garden Productions, and was Head Choreographer of the Rugby World Cup 2011 Opening Ceremony. Shona won the Westpac Women of Influence Arts Award (2014) and the Hynds Creative Entrepreneur of the Year Award (2015). Shona’s artistic vision leads the 2021 – 2024 Festivals and since her arrival, a new dedicated position has been created, Kaihautū Māori, who leads the Māori programming and language development plan of AAF. 

Tama Waipara | Ruapani/ Rongowhakaata/ Ngāti Porou | New Zealand 

Headhshot of Tama Waipara. Tama is shot outside and leans on his right elbow.  He wears a t-shirt and gray cardigan.

Tama Waipara is an award-winning composer, singer/songwriter, musician, and performer. He is the Chief Executive/Artistic Director of Te Tairāwhiti Arts Festival and board member of SOUNZ – Centre for NZ Music, and a Masters graduate of the prestigious Manhattan School of Music in New York. Tama was signed by New York label ObliqSound as a singer/songwriter and released his debut album “Triumph of Time” to high critical acclaim at Central Park Summerstage in New York. Returning to New Zealand in 2006, Tama has become a leading practitioner in the arts and highly respected performer and cultural advocate. As a singer/songwriter, Tama has collaborated and performed alongside the likes of drummer Kim Thompson (Beyoncé), Grammy-nominated American artist Emily King, New Zealand jazz giant Nathan Haines, and Annie Crummer. He has recorded and released several albums, the latest of which—”FILL UP THE SILENCE”—won Best Roots Album at the New Zealand Music Awards. He has performed with the New Zealand Symphony Orchestra, Auckland Philharmonia Orchestra, Christchurch Symphony Orchestra, Orchestra Wellington, and Auckland Chamber Orchestra. Tama has worked across multiple art forms as a composer, actor, musical director, and producer. Along with Mahuia Bridgman-Cooper, he recently won the 2017 APRA Silver Scroll for Best Original Music in a Feature Film for “MAHANA” and has more recently done music for the documentary, “Merata: How Mum Decolonised the Screen”—a film about iconic filmmaker Merata Mita. 

For Presenters

Booking Guidelines

The Mexico and Canada grants have been awarded, however due to circumstances created by the COVID-19 pandemic, some funding remains available to U.S. presenters who wish to join existing tours (dates vary; all are in 2022). Visit the “Current Grantees & Tours” tab to see the Mexican and Canadian roster artists and their existing tours, and to contact the artist’s agent. 

To learn more about the Australia and New Zealand cycle of this program and how to receive a grant, please review the Program Guidelines.

Program Guidelines as a Word doc
Program Guidelines as a PDF

Want to learn more? 

Performing Arts Global Exchange Intro Webinar
Watch this webinar to learn how easy it can be for presenters to secure a PAGE grant.
View a Recording (hyperlink opens new tab to YouTube video)

2022-2023 Artist Roster

Atamira Dance Company | “Te Wheke”

The bodies of multiple Atamira Dance Company dancers are edited to form the infinity symbol with their bodies on a black background.

Atamira Dance Company was formed as a collective in 2000 by Māōri contemporary dance graduates Jack Gray, Dolina Wehipeihana, Louise Potiki Bryant and Justine Hohaia as a platform to bring young Māori perspectives and experiences to the stage.

Atamira is currently celebrating their 21st year of indigenous dance making and is regarded as one of Aotearoa/New Zealand’s leading contemporary dance companies renowned for highly artistic and inventive work. Over two decades Atamira has created and toured a large body of dance works driven by choreographic and design excellence maintaining their position at the forefront of cultural and technical innovation. 

Their collective of Māori choreographers and dance artists shape and share Matauranga Māori (knowledge) with national and global audiences inspired by historical events, personal whakapapa (genealogy) and their unique cultural landscape. Atamira has toured extensively within Aotearoa and internationally to Australia, Noumea, the USA, Taiwan, Korea and China.

“Te Wheke” is a Māōri Contemporary Dance work of legacy and succession commemorating the 21 years of creative existence of Atamira Dance Company. Te Wheke is the Octopus, a symbol of strength, resilience and aroha/love and a powerful tohu for many Oceanic peoples, appearing in different mythologies.

Created in collaboration by eight leading Māori choreographic practitioners & embodied by eight dancers, Te Wheke speaks to the different dimensions of human experience, each symbolized by one tentacle of this mighty guardian. Explored through a Māōri knowledge base these are life essence, the physical body, the emotions, the mind, the ancestors and human dignity/ value. Solo and ensemble expressions of darkness and light occur within shape shifting worlds of floating black silk. Layers of symbolism emanate through AV patterning and mesmeric soundscapes with subtle lighting both revealing and hiding.

Watch: Te Wheke trailer
Traveling: 9 artists + 3 crew + 2 staff
Technical specifications: 3 x props bags (under 22kg each) • 3 x set boxes ( under 22kgs) • 2 x suitcases containing costumes and hand props ( under 22kg each) • 1 x suitcase containing production items ( under 22kg) | Tech rider
Web: Website | Facebook | Twitter
To book, contact: Andre Bouchard |

Bangarra Dance Theatre | Waru – journey of the small turtle

Logo for WARU - Journey of the small turtle. The title text appears in yellow on a blue sky background at night. Blue waves sparkle against a small tropical island with a single palm tree.

Bangarra Dance Theatre is a company of professional Aboriginal and Torres Strait Islander performers. Contemporary dancers drawing on 65,000 years of culture, they create powerful works of theatre with dance, music, poetry, and design. Telling the stories of their Elders, Bangarra Dance Theatre creates works on Country and returns the works they create to the place they were made. Each dancer is a professionally trained, dynamic artist with a proud Aboriginal and/or Torres Strait Islander background. Together, Bangarra Dance Theatre represents the best of Australian talent. As one of Australia’s leading performing arts companies, they share their culture with Communities and audiences across Australia and the world.

Waru – journey of the small turtle takes place under the star-illuminated skies of the Torres Strait as a green turtle navigates her way back to the beach where she was born. The season has started, the turtles are returning to nest, and soon the island will welcome a new generation of hatchlings – amongst them, our small turtle friend, Migi!

A contemporary saltwater Lagaw Kazil (Island Children) story inspired by the totemic system of the green turtle, Waru – journey of the small turtle is an interactive and immersive introduction to Torres Strait Islander culture and dance for families.

Created by Bangarra’s Artistic Director and multi award-winning choreographer Stephen Page, together with Hunter Page-Lochard (ABC TV’s Playschool, Spear, ABC TV’s Cleverman), and Bangarra alumni Dancers and Choreographers Sani Townson and Elma Kris, Waru provides teachers, parents and care-givers with a unique opportunity to open up conversations about climate change, caring for the environment and the traditional cultural values of respect and reciprocity. Waru is inspired in part by the highly successful Turtle (Corroboree) 2001, choreographed by Stephen Page, Peggy Misi and Elma Kris.

Waru has been generously supported by the Girgensohn Foundation and the Restart Investment to Sustain and Expand (RISE) Fund, an Australian Government Initiative.

Watch: Waru – journey of the small turtle trailer
Traveling: 2 artists + 3 crew + 2 staff
Technical specifications: Tech rider available. A single 20-foot shipping container will need to be freighted. Scenery and equipment will fit in a 5-tonne truck for touring.
Web: Website | Facebook | Twitter
To book, contact: Andre Bouchard |

Trick of the Light | The Griegol

An actor stands with their left hand raised against a black background. An aurora of smoke and light seems to pour from their fingertips.

Trick of the Light is an award-winning theatre company from Aotearoa/New Zealand, founded by Hannah Smith and Ralph McCubbin Howell. They are renowned for their engaging, nuanced stories and inventive design, with shows for a cross-over audience of adults and older children. Previous works include “The Road That Wasn’t There” (Production of the Year – Wellington Theatre Awards 2013; Children’s Event Award – Fringe World, Perth 2016; Best Children’s Event – Adelaide Fringe 2016); “Tröll” (Outstanding Theatre Award – Fringe Review, Edinburgh, 2019); and “The Bookbinder” (Best of the Fringe – NZ Fringe 2014, International Excellence Award – Sydney Fringe Festival 2014, BDO Children’s Theatre Award – Fringe World, Perth 2015)—a solo show which has toured across NZ, Australia, Canada, the UK, USA, and South Africa, from sell-out runs at the Edinburgh Fringe to the attic of Aotearoa/New Zealand’s oldest bookbindery.

The Griegol is a show without words about death, love, and monsters. After their grandmother passes away, a child suspects they are being pursued by the smoke demon shapeshifter of the old woman’s stories. In the tradition of Spirited Away and Coraline, The Griegol is a gorgeously rendered dark fantasy for older children and adults. Drawing from the techniques of early cinema, it conjures magic from silhouettes, smoke, puppetry, live music, and live animation. With the operation kept in sight, audiences see both the stage effects and how they are made. Just as the staging combines hi-fi with lo-fi technology, the story combines the mythic and magic with the domestic and every day, and a through line of light and love that carries through the darkness.

Watch: The Griegol trailer | The Bookbinder trailer
Traveling: 5 artists + 2 crew + 1 staff
Technical specifications: The set travels in one box truck
Tech rider
Web: Website | Facebook | Twitter
To book, contact: Jim Weiner |

Emma Donovan & The Putbacks

Six people stand in front of a bright blue wall in two lines of three. Emma Donovan stands center front surrounded by the five members of the Putbacks.

Acclaimed Indigenous vocalist Emma Donovan and rhythm combo The Putbacks first burst on to the Australian scene with their album, Dawn in 2014, announcing a new voice in Australian soul music. After six years, the band reunited launching the ARIA-nominated Crossover in 2020 to great acclaim and then the top-selling knockout Under These Streets in 2021.

Emma’s songwriting is optimistic, impassioned, and bruisingly honest; The Putbacks’ music is fluid, live, and raw, and the collaboration has won friends and admirers all over the world.

Emma Donovan grew up singing church songs with her grandparents on the north coast of New South Wales, Australia, and her first secular gigs were singing in the family band, The Donovans, with her mother and five uncles. Throughout her career, she has toured and recorded with many of the mainstays of Indigenous music, from Archie Roach to Dan Sultan, and was a member of the Black Arm Band project. It was in this group that Emma met members of The Putbacks and their journey together began. The Putbacks are stone-cold pros, grizzled veterans of all the tours and all the studios. When they come together, they’re one of the tightest, sharpest, slickest, most dynamic musical units ever to exist. Their collaboration with Emma elevates their music and Emma’s songs to another level.

Sharing traditional Indigenous language and storytelling is important to Emma Donovan & The Putbacks. The “Crossover” tour, where the band perform music from their critically acclaimed 2020 album, will unveil new ways to tell these stories so audiences can learn and discover a part of Australia’s history. Throughout the Emma Donovan & The Putbacks performance of this album, Emma tells stories, explaining the lyrics and words of the songs providing an understanding of traditional Indigenous language. Emma Donovan & The Putbacks aim to collaborate with artists—both local and international—to continue this sharing of music and preservation of language into the future. By touring across the United States, Emma Donovan and The Putbacks will grow their audiences and continue the discussion around the history and traditional culture of Australia and how it is defined for future generations.

Watch: A Live Performance  |  Yarian Mitiji and Warrell Creek Song
Traveling: 6 artists + 1 crew + 1 staff
Technical specifications: Tech Rider | Supertitles are required to ensure education and awareness is shared of traditional Indigenous Australian language.
Web: Website | Facebook
To book, contact: Andre Bouchard |


Close up of a woman singing on a darkened stage.  She stands in right profile, head back, singing into a microphone.

Hailing from the Eastern Highlands and New Ireland provinces of Papua New Guinea, though now Sydney Australia-based, Ngaiire (pronounced NYE-ree) has a career that crosses genre and artform. The recipient of 4 ARIA Award (Australia’s Grammys) nominations, an fbi Radio SMAC Award for best live act, and the inaugural Australian Women in Music Award for Artistic Excellence, Ngaiire’s albums have been celebrated around the world. Her work has seen her grace the stages of Glastonbury to Splendour in the Grass; go on national tours alongside the likes of Sufjan Stevens, Alicia Keys, Flume, and Leon Bridges; compose for dance companies; and have her work exhibited in art spaces. With 2020 rendering the live touring circuit dormant, Ngaiire has surprisingly still been able to kick some significant goals. This year, she became the first musician to play in front of the National Press Club in Canberra, became the first Papua New Guinean to appear on ABC’s “Play School” (Australia’s “Sesame Street”), the first Papua New Guinean to be painted for the historical Archibald prize, as well as have her first ever piece as an artist exhibited at the iconic Art Gallery of NSW.

A performance from Ngaiire and her full touring band melds electronic neo-soul, gospel, and big pop sounds, strained through the lens of a first nations Papuan New Guinean songwriter. As one of the premiere touring live artists in Australia, Ngaiire is often lauded as the finest voice in the country. This voice has seen her release three critically and commercially celebrated albums. It’s also seen her songs be selected for use across multiple USA TV shows, most notably the gospel torch song, “Fall Into My Arms,” being chosen for use in Oprah Winfrey/Ava DuVernay’s TV show “Queen Sugar.” Touring as a 6-piece ensemble, Ngaiire’s shows give the audience the full spectrum of live performance: one moment will be a pop banger, and the next she will break your heart.

Watch: Introduction video and June 2020 Performance
Traveling: 6 artists + 1 crew + 3 staff
Technical specifications: Input List | Stage Plot
Web: Facebook | Website | Twitter
To book, contact: Andre Bouchard |

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Current Grantees & Tours

2020-2021 Performing Arts Global Exchange Grantees

The Mexico and Canada grants have been awarded, however due to circumstances created by the COVID-19 pandemic, some funding remains available to U.S. presenters who wish to join existing tours (dates vary; most are in 2022). Read below to see the Mexican and Canadian roster artists and their existing tours, and to contact the artist’s agent.


La Serpiente | Mexico
US Debut

A dancer, dressed all in black, bends backward almost on limbo stance with one arm on the stage while holding a long white ribbon of fabric.

Artist Website | Contact Agent

La Serpiente is an independent contemporary dance company working out of Morelia, Michoacán, Mexico. Since their first production in 2001, they have created their own style of feeling and communicating with the world, creating a company that is a convergence of movement and the aesthetic vision of the group’s members. Treatise About the Line is a contemporary dance performance that explores the complexity of bodies moving through space and time.

Grantees include:


Lemon Bucket Orkestra | Canada

Eleven men and women stand and sit around a table in an industrial space. The musicians all wear black. There are lemons and lemon peels all over the table.There are lemon

Artist Website | Contact Agent

Lemon Bucket Orkestra (LBO) is a Balkan-klezmer-gypsy-punk party. Equal parts high precision and reckless intensity, this magnetic ensemble grew from a quartet of guerilla-folk troubadours busking on the streets of Toronto to a battalion of troops armed with brass, bows, accordions, and drums. As at home in a speakeasy as a concert hall, the Lemon Bucket Orkestra has stormed the international scene with its irresistible brass-band mayhem.

Grantees include:

Vox Sambou | Canada

Vox Sambou stands against a bright blue shipping container. He wears a black jacket, white shirt, sunglasses, and fedora.

Artist Website | Agent Contact

Vox Sambou is an MC, poet, and multilingual performer who writes and performs in Creole, French, English, Spanish, and Portuguese. He is a founding member of Montreal-based hip-hop collective, Nomadic Massive. A Haitian-Canadian, his music focuses on the traditional rhythms of Haiti mixed with elements of Afrobeat, jazz, reggae, and hip-hop. His message is one of great positivity that not only reflects the realities of life in Montreal as a Caribbean immigrant, but also the relationship between artists in the Americas. Photo by: Luz Vermelha.

Grantees include:

William Prince | Canada

William Page is dressed all in black.  He stands in a field of yellow and brown foliage.  The sky is full of white clouds behind him.

Artist Website | Contact Agent

From ruminations on life and love’s treasures to tales of everyday heroes, the music of William Prince unfurls like a classic campfire story, midnight road-trip conversation, or dog-eared novel passed down through generations. This Juno Award-winning singer and songwriter evokes a journeyman spirit while delivering emotional heft with his dusky baritone.

Grantees include:

Silvana Estrada | Mexico
US Debut

Silvana Estrada sits on stage in a wooden chair with a small wooden table beside her.  She wears a plaid dress and has a Cuatro across her lap as she sings into a boom microphone.

Artist Website | Contact Agent

Xalapa’s Silvana Estrada has created a jazz-tinged species of indie folk that has quickly flown onto international radar. The explosive success of her first releases, paired with frequent collaborations with the likes of Natalia LaFourcade, Mon Laferte, David Aguilar, and beyond, have the young artist staged for greatness. Accompanying herself on the Venezuelan cuatro, Silvana combines jazz, folk music from her Veracruz homelands, and smatterings of guapango, cumbia, and other Latin genres.

Grantees include:


Seña y Verbo: Teatro de Sordos | Mexico
Music for Your Eyes

Three Actors stand onstage facing the audience.  The one in the middle holds a drawing of a sheep.  In the foreground, a conductor raises his baton.

Artist Website | Contact Agent

For more than 25 years, Seña y Verbo: Teatro de Sordos (Sign and Verb: Theatre of the Deaf) of Mexico City has produced and internationally toured theater featuring deaf and hearing actors for audiences of all ages. Using a mix of Mexican sign language, pantomime, imagery, and puppetry, their work is grounded in cultural inclusion. Music for Your Eyes is born from the dialogue between two worlds: the world of silent images of the deaf and the seemingly intangible world of music—joined in a common language of theater.

Grantees include:

Manage Your Grant

COVID-19 Coronavirus: As you know, this is a rapidly evolving situation, and we recognize the need to be flexible.  We recognize that out of an abundance of caution, grantees may need to cancel grant-supported engagements or activities. Please don’t hesitate to reach out to our Director of Operations, Phillip Harmon, or the Mid Atlantic Arts program director handling your specific grant program or activity to discuss your concerns or options. You can find staff contact information here.  Please be assured we will not penalize grantees for canceling grants due to COVID-19 coronavirus considerations and will be as flexible as we can within the limits of our own funder limitations.

Virtual Engagement Guidance

As arts presenting organizations evolve in response to a changing landscape, Mid Atlantic Arts will continue to take a flexible approach to our program policies during this time. While we believe that live, in-person performances are hard to replace, we are also open to adaptive approaches that will ensure continued access to these arts experiences. Therefore, we are glad to announce the following policy for virtual engagements as an option for our grantees to fulfill their public performance and community engagement activity requirements.

Please read the full guidance document to understand the requirements of presenting your funded engagement as a virtual presentation. We have also included links to a few resources that may help you guide your decisions around virtual presentation.

Mid Atlantic Arts Virtual Engagement Guide as a PDF (link opens in a new window)
Mid Atlantic Arts Virtual Engagement Guide as an accessible Word document (Click link to download)

Changes in Project Proposal

Any changes in the content, schedule, or budget of your project as proposed must be submitted in writing for approval prior to being implemented. Requested changes must be submitted to Phillip Harmon, Director of Operations, at

Funding Acknowledgement and Crediting

Acknowledgement and Crediting requirements were included as Exhibit A of the Grant Award Agreement.

Grantees must clearly acknowledge support from Mid Atlantic Arts through use of both the credit language and logo as outlined below. Use of the Mid Atlantic Arts logo does not replace the credit language. Copies of the required crediting materials must be submitted as part of the final report.

Credit and Logo Usage Details

The following statement, and where space permits, the logos of Mid Atlantic Arts and the National Endowment for the Arts MUST appear in all programs, websites and press releases produced by the funded organization or its agents in relation to the funded project. In addition, the following statement and logo should be included whenever possible, either jointly or separately as necessary, in all flyers and postcards, email communications, season brochures, social media posts and calendars, and any other print or electronic promotional and publicity materials produced by the funded organization or its agents in relation to the funded project.

  • This statement must be used in its entirety and cannot be altered in any way:

This engagement of [ARTIST] is funded through Performing Arts Global Exchange a program of Mid Atlantic Arts in partnership with the National Endowment for the Arts.

Website Link

Grantees are required to include a link to the Mid Atlantic Arts website at when crediting Mid Atlantic Arts on their website. This link must remain active during the entire length of your grant period with Mid Atlantic Arts. You are requested, but not required, to embed the link in Mid Atlantic’s logo.

Final Reports

Final report requirements and instructions are included as Exhibit B of the Grant Award Agreement.

Grantees are required to submit a final report which is due thirty (30) days after the end of the grant period on record as listed in the Grant Award Agreement.

Final reports are completed online using the Mid Atlantic Arts’ eGRANT system at  Please read the instructions in the eGRANT system carefully.

The account used to submit the Common Information Form for the grant must be used to complete the final report. If you do not remember your login and/or password, please use the link on the eGRANT login page to retrieve the information.

For questions about your grant and the crediting or final reporting requirements, contact Phillip Harmon, Director of Operations, at or 410.539.6656 x109.