SPONSORSHIP OPPORTUNITIES Join IPFFNYC and Align Your Brand with Diversity in Arts Education and Entertainment

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SPONSORSHIP OPPORTUNITIES Join IPFFNYC and align your brand with diversity in arts education and entertainment. Custom opportunities are available for sponsors interested in participating in the IPFFNYC. New York City, and its Lower East Side have been home to several generations of immigrants from nations all over the world. As a leader and innovator in bringing together diverse storytellers of all ages, International Puppet Fringe Festival NYC will celebrate global artists who are thriving in our changing world. And, raise critical funds to keep bi-lingual arts in education free and at no cost for over 75K children and young adults served each year. We have secured 12 national and local puppet groups/troupes who will participate as part of our in-person performances; 10 international companies will be part of our virtual programming and all the companies and groups participating in the festival represent 16 different countries. Puppeteers and puppet troupes will be from Africa, Argentina, Canada, China, Cuba, India, Iran, Czech Republic, Israel, Korea, Mexico, New Zealand, Puerto Rico, Spain, Turkey, and the United States. Make a Donation Carnival Sponsor Exhibit Sponsor $20,000 $2,000 - $3,000 $150 $25 Helps bring our award- Community Access Marionette Sponsor Body Puppet Patron winning arts education - provides a senior $10,000 $3,000 programs into the citizen or youth a free classrooms of NYC ticket to a festival event. Shadow Puppet Finger Puppet Pa- public schools. Sponsor tron Pay What You Wish $7,500 $2,000 $75 Thanks to your Helps purchase a donation to the Ticklebug Sponsor Sock Puppet Patron puppet-making tool kit IPFFNYC will support $5,000 $1,000 for school children to general operations to use creativity to express enable staff to develop Stage Sponsor Mascot their unique stories. educational, innovative $3,000 - $4,000 $250 programs for the next $50 generation of creatives Supports outreach and theatre-makers. SEA is a 501c3 and all donations are 100% tax- and recruitment in deductible. SEA. is a 501(C)(3) Nonprofit registered NYC schools for our in the US under EIN: 11-3210593 IPFFNYC in-school programs. Purchase your sponsor package online: http://puppetfringenyc.com/sponsors International Puppet Fringe Festival Headquarters By Email 107 Suffolk Street, Suite 202 Sponsorship Inquiries: New York, NY 10002 [email protected] (212) 529-1545 General Inquiries: [email protected].

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The Commercial & Artistic Viability of the Fringe Movement
Rowan University Rowan Digital Works Theses and Dissertations 1-13-2013 The commercial & artistic viability of the fringe movement Charles Garrison Follow this and additional works at: https://rdw.rowan.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Garrison, Charles, "The commercial & artistic viability of the fringe movement" (2013). Theses and Dissertations. 490. https://rdw.rowan.edu/etd/490 This Thesis is brought to you for free and open access by Rowan Digital Works. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Rowan Digital Works. For more information, please contact [email protected]. THE COMMERCIAL & ARTISTIC VIABLILITY OF THE FRINGE MOVEMENT By Charles J. Garrison A Thesis Submitted to the Department of Theatre & Dance College of Performing Arts In partial fulfillment of the requirement For the degree of Master of Arts At Rowan University December 13, 2012 Thesis Chair: Dr. Elisabeth Hostetter © 2012 Charles J. Garrison Dedication I would like to dedicate this to my drama students at Absegami High School, to my mother, Rosemary who’s wish it was that I finish this work, and to my wife, Lois and daughter, Colleen for pushing me, loving me, putting up with me through it all. Acknowledgements I would like to express my appreciation to Jason Bruffy and John Clancy for the inspiration as artists and theatrical visionaries, to the staff of the American High School Theatre Festival for opening the door to the Fringe experience for me in Edinburgh, and to Dr. Elisabeth Hostetter, without whose patience and guidance this thesis would ever have been written.
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