Federal grant · project grant (b)
Moving Memories: Representations of the Holocaust in Contemporary Dance [moving Memories Will Examine Dance as a Critical Site for Holocaust Representation in Over Two Dozen Works Created Between 1961 and the Present by Jewish and Non-jewish Choreographers Working in the Us, as Well as in Austria, Belarus, Canada, Germany, Hungary, Israel, and Poland. the Holocaust Has Been a Major Focus of Film, Theater, Literature, and Visual Art; There Have Been Numerous Books That Address Holocaust Representation in These Media. <em>moving Memories</em> Will Be the First Monograph on Holocaust Representation in Dance. I Argue That Dance Has Served as a Fertile Platform for Making an Embodied Intervention Into an Immensely Complex History of Trauma and Loss, Intolerance and Bigotry. the Book Illustrates How Representations of the Holocaust in Dance Set History and Testimony Into Motion; Nudge Memorials Out of Statis; Activate Individual and Collective Memories; and Generate Affective and Effective Responses in Audiences.]
Committed
$60,000
Everything here is this single award's whole record — signed, amended, paid — not a fiscal-year slice. The by-year charts elsewhere split an award across the years it was committed; this page keeps it whole.
Committed is what the government has legally promised on this award so far. Contracts can also carry a ceiling — the maximum if every option is exercised. Unspent ceiling is headroom, not money owed.
The cash actually disbursed against this award. The gap from committed is the disbursement pipeline: promised, not yet cashed.
Each transaction is a signing event — an action that created or changed the award, dated the day it was signed — not a payment. Negative amounts are real: money de-committed at closeout or renegotiation.
One bar, the award’s whole arithmetic: paid out, then committed, not yet paid, then .
Loading…