Work Samples

PLEASE NOTE: The information on this page is an archive of the 2018 grant cycle. MAP will announce the 2019 grant cycle timeline in July 2018. 



You must include a total of 2 work samples. These options are available:

  • 1 work-in-progress of the proposed project + 1 sample of a past work created within the last five years
  • 2 samples of past work created within the last five years

Both samples must include content generated by at least one of the artists listed among the artistic team in the application. Among the two samples, we strongly recommend that at least one of the samples represents live performance work in audio or video format.

For audio / video samples:

  • Each sample should be no longer than 5 minutes in length and no shorter than 2 minutes. You are welcome to submit full-length samples, but please provide specific cue points for reviewers. If you do not indicate a cue point, they will watch or listen to the first 2 minutes of the material.

For written samples:

  • Please upload a script, text or libretto sample and select ten pages you would like the reviewers to read. If you do not indicate a specific section, the reviewers will read the first ten pages of the material. We do not recommend submitting more than one written sample.

All sample types must include:

  • Work sample title
  • Name(s) of artist(s) whose content is present in the sample
  • Short description (150 words)
    • Speak specifically to the elements that help the reviewer connect the sample to your proposed project
  • Cue Points or page selections as needed if you choose to upload full-length samples
  • An uploaded file of the work sample or a URL link to the work sample with passwords as needed
    • Accepted file types include: pdf, docx, doc, mp3, m4a, wav, mp4, mov

Back to top


  • Pick clear, continuous footage of what you believe is your strongest live performance work.
  • Remember that reviewers are looking at hundreds of samples. Try to select material that will leaves a strong impression within the first 30 seconds of viewing or listening.
  • In general, we discourage editing choices that give the impression of a marketing reel. Showing quick image flashes might convey a sense of energy to the panelists, but it doesn’t show compositional choices, or how bodies are organized in space and time.
    • The exception to this suggestion is if your work is durational (i.e. 24-hour performance processional), or unfolds in multiple spaces simultaneously. In those instances, you are welcome to use editing to convey a sense of the arc of the live performance experience. Note that with durational work or work at a scale that cannot be fully captured on video, it is especially important to make use of the work sample description fields to orient the viewer as thoroughly as possible.
  • Provide a work-in-progress sample only if you have footage that you believe is fairly close to how you believe an audience might experience the material. Rehearsal footage is fine. The sample doesn’t need to be “staged” or convey “full production values” necessarily.
    • Think about whether or not you feel a need to “explain away” elements in the footage. If you might say, “Some minor elements need further revision, but this is pretty close to where I want it to be for an audience,” then this is a great time to use work-in-progress material. If you are inclined to say, “Ignore this and this and this. That won’t be in the final version, etc.,” this may not be the best moment to include a sample.

Back to top


  • Provide contextual information to help reviewers focus on the elements that you want to highlight. For example, “You are listening to the first 3 minutes of a 45-minute composition. Please focus particularly on the instrumentation and rhythmic choices. These are good indicators of my compositions generally, but this section highlights some phrasing choices that I plan to investigate further in the proposed project.”
  • Indicate how the samples you selected provide a foundation for your proposed project, reflect your production or process values, or give some evidence of your experience working in the role(s) you are taking on in this project. For example, if you are proposing to choreograph a dance, it’s best to show a sample of your past choreographic work and frame how that project links in some way to the proposed idea.
  • In the event that you do not have samples that make an explicit connection to the proposed project, it’s even more important to use the “description” narrative space strategically. Tell the reviewers why you believe it’s the best representation of your work, and a little bit about the ways you intend to work differently (or in a new direction) than what some of the elements in the sample indicate.

Back to top