Anima Mundi Productions
|P.O. Box 1323
This organization is a
501(c)(3) Public Charity.
Financial information in this report is derived from the organization's
December 31, 2014
MISSION AND PROGRAMS
- To create, promote, foster, and produce new musical and dramatic works that harness the power of the arts to stir the soul, foster community, and address urgent social and environmental problems.
- To promote social justice and societal well-being through the intersection of live artistic productions, philanthropic/humanitarian giving, and community engagement.
- To create public arts events that aid in the personal, collective, and spiritual healing of at-risk segments of society such as those who have experienced the traumas of war, domestic violence, childhood abuse, social injustice, etc.
|Program:||The Canticle of the Black Madonna: A New Opera about a Soldier's Journey from War to Love|
|Population Served: ||Veterans|
Called “One of the most exciting developments of the arts season” by Oregon ArtsWatch and "generous, carefully crafted and supremely compassionate" by The Oregonian, The Canticle of the Black Madonna is a new opera commissioned and produced by Anima Mundi Productions and created by librettist Tiziana DellaRovere and composer Ethan Gans-Morse which premiered in Portland, Oregon on September 5, 2014. Set in coastal Louisiana amidst the devastation of the 2010 Gulf Oil Spill, it tells the story of a fictional soldier returning from Afghanistan to his wife. Together, they face the challenges of his Post-Traumatic Stress Disorder (PTSD) and her struggles to maintain the family business. Through a rich combination of modern and ancient music, The Canticle ultimately reveals the healing power of love, represented by the Black Madonna, which transforms them both forever and touches all who witness it.
|Program:||Tango of the White Gardenia|
|Population Served: ||Adolescents (13-19 years)|
Tango of the White Gardenia is a new chamber opera developed by Anima Mundi Productions and commissioned and produced by Cascadia Concert Opera in Eugene, Oregon.
At its core, it is a contemporary story that features urgent themes for today’s audiences, such as how enduring love and staying true to one’s heart are more precious than winning external recognition, how the consequences of parents’ mistakes cast a shadow on their children’s lives, and how bullies are made, not born. Specifically, it reveals how parental abandonment of a child often creates emotional insecurity and a sense of not being worthy of love, and many times the absence of care-giving parents creates a compulsion to compete, seduce, and win worldly recognition at any cost.
All of this drama unfolds against the background of Argentine Tango, which permeates both the musical score and the choreography of the six dancers who mirror each of the singing characters. In this context, the Tango becomes a metaphor for life and a perfect canvas for the expression of intense passion, deep connections, strident conflicts, and powerful reconciliation, all in operatic proportions!
|Program:||How Can You Own The Sky? A Symphonic Poem Honoring Native Wisdom|
|Population Served: ||Indigenous people|
Developed by Anima Mundi Productions and commissioned by the Rogue Valley Symphony, How Can You Own The Sky? is a program symphony in four movements developed through a year-long collaboration between composer Ethan Gans-Morse, poet Tiziana DellaRovere, and Native American Studies professor and Native Nations Liaison, Brent Florendo. The piece explores a rich combination of Siletz and Wasco traditional stories and recently uncovered history, particularly the details of the Rogue River Wars that took place in Southern Oregon in the 1850’s and resulted in the violent removal of all Native peoples of the region.
The piece is built on the framework of a traditional symphony and is further enriched with short, powerful episodes of storytelling between each of its four movements. It begins with the presentation of an original song composed and sung by Mr. Florendo, accompanied by the members of his family, an ensemble that performs professionally under the name Dancing Spirit. Mr. Florendo then becomes the storyteller and narrator of the piece, presenting the first section of Ms. DellaRovere’s narrative poem, which describes the creation of the Rogue Valley region according to Siletz tribal legends.
The orchestra then begins, with each movement alternating with and providing a programmatic depiction of the recited poetry, until all four sections of music and poetry have been presented. These four sections focus on 1) mythic creation, 2) the struggles of the first people to find wisdom and harmony with their surroundings, 3) the trail of tears and the devastation of their removal from their ancestral lands, and 4) the rediscovery of Native wisdom and hope for healing at last. Throughout the work, Mr. Florendo’s original song is the through-line, undergoing narrative change and development in the orchestra through its long journey from creation to final catharsis. At the very end of the piece, Dancing Spirit joins the orchestra in their final statement of the primary song and drumming, bringing these two music communities—and we hope their larger constituencies as well—together in friendship and reconciliation.
Revenue and Expenses
Fiscal Year Ending
December 31, 2014
Fiscal Year Ending
December 31, 2014
Note: The balance sheet gives a snapshot of the financial health of an organization at a particular point in time. An organization's total assets should generally exceed its total liabilities, or it cannot survive long, but the types of assets and liabilities also must be considered. For instance, an organization's current assets (cash, receivables, securities, etc.) should be sufficient to cover its current liabilities (payables, deferred revenue, current year loan, and note payments). Otherwise, the organization may face solvency problems. On the other hand, an organization whose cash and equivalents greatly exceed its current liabilities might not be putting its money to best use.
||January 1, 2014||December 31, 2014||Change|
|Cash & Equivalent||$33,682||$16,182||($17,500)|
|Pledges & Grants Receivable||$0||$0||$0|
Due to changes in the 2008 Form 990, this data is no longer reported.||$0||$0||$0|
|Inventories for Sale or Use||$0||$0||$0|
Due to Changes in the 2008 Form, this value now includes Publicly Traded Securities as well as Other Securities.
Due to various changes in the way this data is reported in the 2008 Form 990, it may not be possible to accurately compare
this data from the 2008 form 990 against the same field on prior forms
The 2008 form does not distinguish between LBE as investments and LBE as fixed assets. This value is equivalent to the sum of both line items on earlier forms (Part IV line 55 plus line 57).
Program Related Investments is now a separate field on the new form, Part X-13(A) and (B).
|Fund Balance:||$22,632||$15,853||($6,779)|| |
|Chief Executive:|| Ethan Gans-Morse|
||Mr. Ethan Gans-Morse, Executive Director|
Fiscal Year End Date:
||December 31, 2014|