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Founded in 2016, Sound Aloud exists to equip this generation with the tools to find their voice (identity), release their sound (purpose), and live it ALOUD (unashamed); becoming the sound of freedom to this world. Our heart as a ministry is to use the Creative Arts (fine, performing, visual), holistic health, and mentoring/outreach programs to unleash the treasure that is buried just beneath the surface of our “generationals”. We do this to spark the creative, and vivid imaginations that need motivation and training - the type of training that prepares them to become confident young men and women, and the hope of our future. Our programs and services create positive outlets, give support, nurture dreams, send a message of hope, deal with issues that this generation face, bring cultural awareness, cross religious and cultural boundaries, provide discipleship, help build confidence, build strong self-esteem, character, and create teamwork and connection.

Since 1983 Children's Place has offered a wide range of flexible, accessible, FREE early learning & family support programs. Today we serve over 2000 families from 11 different locations in central west Toronto. Programs include: family drop-ins, child development activities focusing on & exploring senses & developing motor skills, occasional childcare, community outreach, family literacy, food & nutrition support, parent & caregiver support & education, peer contact & mutual support, play & recreation, health & safety promotion, information about & referrals to other resources, toy & book lending. Our staff and volunteers are able to communicate in different languages including English, Portuguese, Spanish, Mandarin, Cantonese, Somali, Hindi, Gujarati, Urdu & Italian. Participants include: young children 0 to 6, parents, expectant parents, very young parents, parents/caregivers/children with special needs, grandparents, nannies & home providers, newcomer & immigrant families.

The mission of Jazz at Lincoln Center is to entertain, enrich and expand a global community for Jazz through performance, education and advocacy. We believe Jazz is a metaphor for Democracy. Because jazz is improvisational, it celebrates personal freedom and encourages individual expression. Because jazz is swinging, it dedicates that freedom to finding and maintaining common ground with others. Because jazz is rooted in the blues, it inspires us to face adversity with persistent optimism.From our first downbeat as a summer concert series at Lincoln Center in 1987, to the fully orchestrated achievement of opening the world's first venue designed specifically for jazz in 2004, we have celebrated this music and these landmarks with an ever-growing audience of jazz fans from around the world.Representing the totality of jazz music, Jazz at Lincoln Center's mission is carried out through four elements—educational, curatorial, archival, and ceremonial—capturing, in unparalleled scope, the full spectrum of the jazz experience.In the mid-1980s, Lincoln Center, Inc. was looking to expand its programming efforts to attract new and younger audiences, and to fill its halls during the summer months when resident companies were performing elsewhere. Long-time jazz enthusiasts on the Lincoln Center campus and on the Lincoln Center Board recognized the need for America's music to be represented, and lobbied to include jazz in the organization's offerings. After four summers of successful Classical Jazz concerts, Jazz at Lincoln Center (JALC) became an official department of Lincoln Center in 1991. During its first year, JALC produced concerts throughout New York City, including Brooklyn and Harlem. By the second year, JALC had its own radio series on National Public Radio, and the Lincoln Center Jazz Orchestra (now known as the Jazz at Lincoln Center Orchestra) began touring, and recording and selling CDs. By its fourth year, the program reached international audiences with performances in Hong Kong and, the following year, in France, Austria, Italy, Turkey, Norway, Spain, England, Germany and Finland. In July 1996, JALC was inducted as the first new constituent of Lincoln Center since The School of American Ballet joined in 1987, laying the groundwork for the building of a performance facility designed specifically for the sound, function and feeling of jazz.“The whole space is dedicated to the feeling of swing, which is a feeling of extreme coordination," explained Jazz at Lincoln Center's Managing and Artistic Director Wynton Marsalis of his vision for the new home of jazz, or the “House of Swing." “Everything is integrated: the relationship between one space and another, the relationship between the audience and the musicians, is one fluid motion, because that's how our music is." Under Marsalis's direction, JALC sought out world-renowned architect Rafael Viñoly and a team of acoustic engineers to create Frederick P. Rose Hall, the world's first performance, education and broadcast facility devoted to jazz, in New York City. As the centerpiece of a $131 million capital campaign drive, the 100,000-square-foot facility opened in fall 2004 and features three concert and performance spaces (Rose Theater, The Appel Room and Dizzy's Club Coca-Cola) engineered for the warmth and clarity of the sound of jazz.

La MaMa is dedicated to the artist and all aspects of the theatre. It has a worldwide reputation for producing daring work in theatre, dance, performance art, and music that defies form and transcends boundaries of language, race, and culture. Founded in 1961 by theatre pioneer and legend Ellen Stewart, La MaMa is a vital part of the fabric of cultural life in NYC and the anchor of FAB (Fourth Arts Block). In the 1960's, Ms. Stewart, one of the first black fashion designers in New York, worked as the executive designer for Saks Fifth Avenue and was undoubtedly a trendsetter. She began La MaMa with the belief that art, in order to flourish, needs: fiscal support, the company of colleagues, the spirit of collaboration and a public forum in which to be evaluated. The original house of La MaMa sat 30 people, and the stage was the size of a bed. Today, La MaMa is a four-building campus with three theaters, an art gallery, an art and technology studio, rehearsal studios, a dormitory, offices, and an extensive archive documenting the history of Off-Off-Broadway. La MaMa produces approximately 70 productions annually, most of which are world premieres. To date, more than 3,500 productions have been presented at La MaMa with 150,000 artists from more than 70 nations. La MaMa's programming is culturally diverse, cross-disciplinary and draws audiences from all walks of life. In addition to affordable ticket prices, La MaMa distributes up to 8,000 free tickets annually to social service and education organizations. Annual visitors exceed 32,000 people from New York and beyond. Each year, La MaMa provides employment opportunities for more than 260 artists and administrators including performers, writers, composers, directors, choreographers, musicians, designers and educators. La MaMa is a think tank and an experimental forum where artists at various stages of their career and creative development come to take risks. Much of the work done here allows the artistic experimenter to take the lessons learned and capitalize on them elsewhere, thus influencing much of what is eventually seen in commercial theater and the entertainment industry at large. In addition, La MaMa provides people of all ages and backgrounds with an opportunity to explore the arts in various capacities - as a member of the audience, the creative team, production crew or cast. "A home to, and champion of, brash and venturesome artists!" - New York Times Countless American artists have worked at La MaMa during the early stages of their careers, including: Blue Man Group, Steve Buscemi, Robert DeNiro, Andre DeShields, Danny DeVito, Olympia Dukakis, Harvey Fierstein, Philip Glass, Bill Irwin, Diane Lane, Bette Midler, Meredith Monk, Estelle Parsons, Sam Shepard, Patti Smith, Elizabeth Swados, Julie Taymor, Andy Warhol, Lanford Wilson, Robert Wilson, Scott Wittman and Joel Zwick. New Eastern European Theatre was introduced to America in 1967 when La MaMa brought Ryszard Cieslak, Ludwig Flaszen, and Jerry Grotowski to New York. Other international artists whose work premiered at La MaMa include Ivica Buljan, Peter Brooke, Tadeusz Kantor, Kazuo Ohno, Andrei Serban, Shuji Teriyama, and Ahmed Yacoubi. La MaMa has received more than 30 Obie Awards, dozens of Drama Desk and Bessie Awards. Recent significant premieres include: The Foundry Theatre's GOOD PERSON OF SZECHWAN; Belarus Free Theatre's BEING HAROLD PINTER (Obie Award); Lee Breuer's LA DIVINA CARICATURA; and SOULOGRAPHIE: OUR GENOCIDES by Eric Ehn.

FIASCO THEATER is an ensemble theater company created by graduates of the Brown University/Trinity Rep M.F.A. acting program. Past shows include Cymbeline (TFANA/Barrow Street), Into the Woods (Roundabout, Old Globe, McCarter), Measure for Measure (New Victory), The Two Gentlemen of Verona (Folger/TFANA) and Twelfth Night. Cymbeline was presented Off-Broadway twice, for nearly 200 performances, and was honored with the 2012 Off-Broadway Alliance Award for best revival. Into the Woods garnered the 2015 Lucille Lortel Award for Best Revival. Every year, Fiasco offers the Free Training Initiative—a three-week, conservatory-level classical acting intensive for professional actors, completely free of charge to students. Fiasco has been in residence with Duke University, Marquette University, LSU, and NYU-Gallatin. Their work has been developed at the Sundance Theatre Lab, the Orchard Project, SPACE at Ryder Farm (upcoming) and the Shakespeare Society, and Fiasco has led master classes at Brown University and NYU. OUR MISSION The mission of Fiasco Theater is to offer dynamic, joyful, actor-driven productions of classic and new plays, and to offer high-level theatrical training through classes and workshops. Our goal is to create a new model of fiscal sustainability whereby we remunerate our artists for their valuable work and offer our performances and training at low or no cost to our audiences and students. WHO WE ARE: We are a team of classically trained actors with a common aesthetic vision and a passion for teaching acting. We choose to work as an ensemble because we believe this allows us the possibility to create something greater than the sum of its parts. WHAT WE BELIEVE: The artists at Fiasco believe that thrilling theater is invented through dynamic rehearsal – exploring the play in a full, open, joyful way through the voice, body, and imagination. We believe the performer, the text and the audience are the only elements required to make great theater. These principles of the power of rehearsal inspire both the creation of our performances and the training of our students. A NEW FISCAL MODEL We believe that theater is a societal foundation. It brings communities together, teaches empathy and has the power to inspire, galvanize and heal people. It’s vibrancy is necessary for the health of a culture, and shouldn’t be a luxury only accessible to the wealthy. We also believe that people who choose to create art for a living should be able to make a living doing so and shouldn’t have to choose between creating art and a living wage. But the current producing wisdom demands that wages be kept low to minimize costs while ticket prices are raised to maximize the potential for profit. It is a wisdom that hurts artists and audience alike. Fiasco’s mission is to invert that equation: we seek to offer art to the public at affordable prices while paying the artists who create it a living wage. We do so by enlisting the generosity of donors, corporations and foundations in support of artist salaries and subsidized ticket prices. WHY FIASCO? Legend has it the word “fiasco” was first used to describe commedia dell’arte performances that went horribly (and hilariously) wrong. In those instances the performer would have to fare fiasco or “make a bottle.” In other words “You’re buying!” While we hope to avoid on-stage disasters, we do believe that it is only when artists are brave enough to risk a fiasco that the possibility exists of creating something special. We chose the name Fiasco to remind ourselves to brave the huge leaps in the hopes of reaping huge artistic rewards.

We have projects in Asia, China, and in the Americas.

^The Blues Kids Foundation is a non profit charitable organization established for America's youth and educators to preserve, promote and perform the Blues under the tutelage of professional practitioners

from the website: "Raven Drum Foundation serves, educates, and empowers trauma survivors and communities in crisis, with a focus on Veterans and First Responders. By integrating advocacy, storytelling, music and arts programs and events, we bring the tools and experiences of complementary and alternative medicine (CAM) to support and inspire mental health, resiliency, and unity."

AS ONE OF AMERICA'S OLDEST CONTINUOUSLY-OPERATING COMMUNITY THEATRES, THE MISSION OF THE YOUNGSTOWN PLAYHOUSE IS TO PRESENT HIGH QUALITY THEATER ARTS PERFORMANCES, PROVIDE EDUCATION OPPORTUNITIES FOR ADULTS AND YOUTH, EXPOSE ALL PEOPLE TO THE VALUE OF THE PERFORMING ARTS, AND ESTABLISH AND MAINTAIN COMMUNITY PARTNERSHIPS WHILE SUPPORTING AND PARTICIPATING IN THE REVITALIZATION OF THE CITY OF YOUNGSTOWN.

Join the Dance is the Ontario representative for Pierre Dulaine's internationally acclaimed Dancing Classrooms of Mad Hot Ballroom and Take the Lead Fame. A 10 weeks Inter-curricular, Character Education program for children and youth that utilizes ballroom dancing as a vehicle to change the lives of not only the participants, but also the lives of the teachers and families who support them. Academic components of History, Geography, Literacy, Public Speaking and Social Studies are woven intricately into the joy of the dance that provides 50-minutes of good physical fitness and mental health stimulation. Culminating events allow diverse school communities to Join the Dance and Dancing Classrooms are fully endorsed by the Toronto Public and Catholic Boards. $100 will provide 1 student in a classroom with twenty 50-minute sessions for ten weeks. $2,000 sponsorship/donation provides the program to one entire classroom.

Midwest Music Foundation unites and empowers the Kansas City area music community by providing health care assistance, education and career development, events and resources.

The All Stars Project, Inc. is a privately funded national nonprofit organization founded in 1981. As a leader in the field of Afterschool Development, a new way of engaging poverty, our mission is to transform the lives of youth and poor communities, using the developmental power of performance, in partnership with caring adults. From engaging young people with corporate America through its Development School for Youth (DSY), to the All Stars Talent Show Network (ASTSN), to building better police-community relations through Operation Conversation: Cops & Kids, the All Stars Project has seen the power of performance change lives. ASP involves over 20,000 young people every year in its afterschool programs in six cities across the country.