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Back to Top Curated Projects 2010 The Curated Program offers experienced NSW choreographers a program of laboratories, masterclasses and workshops. There are two strands offered. The first comprises workshops which are usually short and participants are unpaid. The second comprises laboratories and masterclasses which are usually for a longer duration and participants are paid a bursary.   Deadline for Curated program expressions of interest 1 June, 2010.   Please refer to the GUIDELINES section for more details about getting involved.   CRYSTAL PITE: MASTERCLASS Vancouver-based Crystal Pite is associate dance artist at the Canadian National Arts Centre and Associate Choreographer of Nederlands Dans Theater. She is being presented Australia by the Sydney Festival 2010 which will be showcasing her haunting piece, Dark Matters. Crystal Pite is an extraordinary dancer and a supremely inventive choreographer whose distinct style fuses classical elements, the complexity and freedom of structured improvisation, and a strong theatrical sensibility. In partnership with the Sydney Festival, Critical Path will be offering 6–10 places to NSW choreographers to participate in a master class with this influential choreographer. 23 Jan, 11am–2pm Location: The Drill Hall 10 choreographers Expressions of interest are due 12 Jan (open to all australian choreographers) NGT website DEBORAH HAY: SOLO COMMISSIONING LABORATORY This project will bring the renowned USA dancer and choreographer Deborah Hay to Australia to work with ten choreographers over a ten-day residency at Bundanon, NSW. The laboratory is based on the work Deborah is doing in Findhorn, UK. In line with Critical Path’s aim to ‘create secure and extended pathways for better developed and more sophisticated research projects’, this curated project is dovetailed into the Responsive program, with four of the Critical Path Responsive fellowship positions allocated to choreographers undertaking Deborah Hay’s Solo Performance Project, allowing them to develop their solo practice over three months with Australian choreographer Ros Warby acting as mentor/performance coach in Bundanon and again in Sydney. Afternoons between 1-4 May. 9–18 Mar, Bundanon, NSW 4 NSW, 4 VIC and 2 WA choreographers Participating choreographers: Fiona Bryant, Kristina Chan, Matthew Day, Rosie Dennis, Atlanta Eke, Luke George, Carlee Mellow and Georgie Read. Presented in partnership with dancehouse (VIC), Strut (WA) and Bundanon (NSW) Expressions of interest are now closed Deborah Hay website INDIGENOUS CHOREOGRAPHIC LABORATORY In line with Critical Path’s objective to extend pathways for better developed research projects, the 2010 Indigenous Choreographic Laboratory invites the original participants from the 2009 laboratory more deeply into their research into cross cultural and indigenous dance practice. This laboratory is designed to build upon the work of the previous laboratory and is being held within 6 months of the 2009 laboratory to ensure that creative momentum is maintained. Artists have been encouraged to work from their own individual interpretation of being an indigenous artist. African choreographer, Andréya Ouamba Congo will facilitate this workshop. Dates tbc, Broome, WA 4 NSW, 4 WA and 4 New Zealand choreographers Facilitator: Andréya Ouamba Congo in partnership with Marrugeku (wa) Supported by the Australia Council inter-arts infuse program and Creative NZ Expressions of interest are now closed METTE INGVARTSEN: INTENSIVE WORKSHOP The Danish choreographer Mette Ingvartsen studied in Brussels and Amsterdam. Her projects such as Solo Negatives (2002) and Manual Focus (2003), subject the perception of the human body to a rigorous test. Out of Order (2004), 50/50 (2004) and To Come (2005) investigate how bodies come into contact with one another, touch and connect, and so create new forms of pleasure. Her work is inspired by rock concerts, circus and opera. Mette enjoys dealing with extreme physical expression. (2007) is a filmic sensation in which the film is stripped down so far that only the action and the stunts are left behind. She is engaged in long-term research relating to modes of production in performing arts. 25–26 Mar Location: The Drill Hall Approximately 10 choreographers Presented in partnership with Lucy Guerin INC (VIC) and the Danish Arts Council Expressions of interest are due 1 Mar (open to all Australian choreographers) Mette Ingvartsen is a Danish choreographer and dancer. From 1999 she studied in Amsterdam and Brussels where she in summer 2004 graduated from the performing arts school P.A.R.T.S. Since summer 2002 she has made several performance works among others Manual Focus, 50/50, to come and Why We Love Action. Her practice includes writing, making, performing and documenting work. Her most recent performance works are IT’S IN THE AIR (2008) a collaboration with Jefta van Dinther and the YouTube project Where is my privacy (2008/9). She is currently working on GIANT CITY that will premiere in October 2009 in Graz. Besides her performance work she is engaged in research and in questioning modes of production within the performing arts. In 2008 she participated in 6Months1Location confronting questions around education, structures of production and research within the performing arts. Since 2005 she has been working on everybodys, an ongoing collaborative project based on open source strategies that aims at producing tools and games that can be used by everybody in order to develop work. She is part of the collective COCO’s who recently presented Breeding, Brains and Beauty. And has collaborated with Jan Ritsema and Bojana Cvejic on several theater performances. Mette Ingvartsen website TANG FU KUEN: DANCE DIALOGUES Singaporean dramaturg-curator Tang Fu Kuen will mentor eight choreographers through a ‘Dance-Dialogue’ process in which biography, praxis and critique are pitched to form documents of artistic encounters. Bridging conversations between traditional and contemporary dance, Fu Kuen’s dialogue couplings have resulted in works such as the critically acclaimed Pichet Klunchun and Myself, a dialogue between French conceptual choreographer Jerome Bel and Thai classical dancer Pichet Klunchun. Fu Kuen will also give public talks on dance dramaturgy and criticism. 17 & 18 Apr and 24 & 25 Apr Location: The Drill Hall 8 Australian choreographers in partnership with the national arts council singapore expressions of interest are due 1 mar (open to all Australian choreographers) ROS WARBY: PRACTICING PERFORMANCE WORKSHOP This workshop focuses on the development of the dancers performance practice, and consequently their approach to making solo work. The content and structure of the workshop is based on Warby’s long history with the work of Deborah Hay. Warby encourages the participants to eliminate attachment to prescribed techniques or choreographic approaches and invite the body to undo any preconceived notions of what dance is, thereby creating a chance for the dancer to express a complex and indefinable range of experience through the humour, intelligence and emotional engagement of the dancing body. Creating a solo adaptation from one of her own choreographies, she will use this form to introduce the dancers to these ideas and practices. This practice challenges the students to wake up and notice what it is they are doing in their dance. This shift in attention aims to stimulate the intelligence of the whole body and mind and, in turn, elevate their level of engagement in both performance and dance making. May 1–4, four mornings 10am–1pm Location: The Drill Hall Up to 15 choreographers Expressions of interest are due 1 Mar (open to all australian choreographers) Ros Warby website SEAM 2010: WORKSHOPS ON INTERACTIVE PERFORMANCE SYSTEMS Following the success of SEAM 09, Critical Path will collaborate in the presentation of a cluster of laboratories, workshops, forums, performances, installations and exhibitions around September/October. The focus in 2010 will be on investigating how interactive technologies have transformed notions of embodiment, agency and audience engagement within choreography and media arts. Research laboratories focusing on Choreographing within an Interactive Media Environment will create multiple opportunities for choreographers and the dance sector to feed into, and learn from, the broader arts and academic communities, allowing for the creation of new collaborations and creative synthesis beyond the scope available within individual activities. SIMON BIGGS AND SUE HAWKSLEY Simon and Sue will present their research for a performance work which primarily involves speech, movement and the body. The performer is sited within an environment augmented and mediated by various technologies, including spoken and written language, sensing instrumentation and digital and audiovisual display systems. Employing real-time motion capture, voice recognition and generative language systems, the dancer’s movement and speech are acquired and re-mediated in the performance space. The acquired speech is rewritten, the text is animated by, and reveals, the performer’s gestures, leading to a questioning of and insight into the relations between kinaesthetic experience, agency and representation. Simon Biggs and Sue Hawksley, Edinburgh, December 2009 Public Forum 4 Sep, 6–8pm (tbc) Location: The Drill Hall Simon Biggs is a visual artist born in Australia, 1957. He moved to the UK in 1986. Since 1978 Biggs has been working with digital and interactive systems in installation, networked and other media. Venues presenting his work include Tate Modern, Whitechapel, Institute of Contemporary Arts, Centre de Georges Pompidou, Academy de Kunste and Kulturforum (Berlin), Rijksmuseum Twenthe, Kunsthalle Bergen, Macau Arts Museum, Cameraworks (San Francisco), Walker Art Center, Paco des Artes (Sao Paulo), Museo OI (Rio De Janeiro), McDougall Art Gallery (Christchurch), Experimental Art Foundation (Adelaide) and the Art Gallery of New South Wales. Publications include Autopoeisis (with James Leach, Artwords, 2004), Halo (Film and Video Umbrella, 1998), Magnet (McDougall Art Gallery, 1997) and CD-ROM's Book of Shadows and Great Wall of China (Ellipsis, 1996 and 1999). He is Professor at Edinburgh College of Art. Simon Biggs website Sue Hawksley is a dance-artist. She has performed extensively, including with Rambert Dance Company, Mantis, Scottish Ballet and Philippe Genty and undertaken many freelance projects. She is artistic director of the Edinburgh based dance company articulate animal, whose works include commissions from New Media Scotland and citymoves Aberdeen and collaborations with Distance Lab and Suzanne Parry. Sue has previously choreographed solo-works and interdisciplinary collaborations, including works with Simon Biggs and Bruce McLean. She is currently undertaking a practice-led PhD at Edinburgh College of Art. Her research engages questions of embodiment through choreographic practice, somatics, philosophy and technological mediation. Sue Hawksley website EMIO GRECO: PC 3 DAY INTENSIVE LABORATORY CREATIVE PROCESS OF CHOREOGRAPHY In 2006 Critical Path hosted Emio Greco|PC Double Skin/Double Mind Academia Mobile in Sydney. The workshop become part a wider Notation Research project and was observed by MARCS researchers, Garth Paine and Kate Stevens. Returning to Critical Path in 2010, EG|PC Emio Greco collaborated with creative partner Pieter C. Scholten to facilitate a three-day intensive laboratory on the Creative Process of Choreography. EG|PC will also reflect on key moments of dynamic change in their creative process and discuss how research sustains their creative practice. EG|PC will also join with Christian Ziegler to present some aspect for their current research project, Inside Movement Knowledge( IMK). Laboratory: 4–6 Oct The Drill Hall 10 NSW choreographers in partnership Strut (WA) Expressions of interest are due 1 June (NSW based choreographers only) Public Talk: 8 Oct Location: The Drill Hall Emio Greco website CHRISTIAN ZIEGLER: CHOREOGRAPHING WITHIN AN INTERACTIVE MEDIA ENVIRONMENT Christian Ziegler will be facilitating two intensive one-week curated laboratories to develop work within the Wald Forest interactive environment. The work of Christian Ziegler ranges from DVD-ROM projects to interactive installations and multimedia performances and performance environments. During 17–28 October, Christian will set up his work Wald–Forest as a laboratory space for choreographers to work in. Christian will work with choreographers both as a facilitator and as a programmer to offer them insight and practical exploration of his interactive dance environments. On 30 and 31 October Critical Path will host a one day public exhibition of the Forest installation and a public exhibition of the Forest 2 installation and a forum where Christian Ziegler will present his own work and the work he has undertaken Emio Greco|PC. 17–28 Oct Location: The Drill Hall 6 NSW choreographers Presented in partnership with the Goethe Institut expressions of interest are due 1 June (NSW based choreographers only) Exhibition and Forum: 30 & 31 Oct

Back to Top   Mentoring Projects 2010 In 2010, Critical Path will offer multiple Mentoring opportunities allowing more than 30 artists with a range of diverse needs to be involved. Ideas for these projects have been generated as a response to conversations between local artists and Critical Path. Please refer to the GUIDELINES section for more details about getting involved. COBIE ORGER: RESEARCH RESIDENCY Cobie will be working with a team of dancers and designers exploring themes for a new performance installation examining the tension found within two disparate fields: the scientific, with its focus on reality, facts and evidence, and that of the mythical, a place of dreams, memories and the unknown. Calling upon dance, sound, image and light, they will work on developing a series of environments that are encountered on an immersive journey that highlights the discordance between the reality of the everyday and the possibilities sensed in a ‘heavenly’ world. 4–15 Jan Showing: Thursday 14 Jan 4pm Location: The Drill Hall PETER LENAERTS: RESEARCH ROOM RESIDENCY WITH ARTIST TALK Silence and absence and nothing. The lack of just space and air. That moment when the last note has rung. All ears. That moment. Silence does not exist. Or, if it does, it cannot be recorded. Or, if it could be, it cannot be played back or re-experienced in the same way. I want to go look for silence. And fail. Try again and fail again. Try better and fail better. The intensity of failure. The intention of failure, and what it will make me find instead. More information: surfacenoise aisikl 1–28 Feb Location: The Drill Hall ELIZABETH LEA: ARTIST TALK Elizabeth Lea was the recipient of 2009 Critical Path’s National Film and Sound Archive research residency in Canberra. Elizabeth will present her research at the National Film and Sound Archives which evolved around Anna Pavlova and her influence on the Australian dance world in the 1920s. Through the collection at the NFSA, the project has expanded to researching materials for a work based around a number of touring dance companies in the 1920s. Elizabeth’s presentation will include film, photographs and performance. Public artist talk: 29 Mar, 8pm Location: The Drill Hall VICKI VAN HOUT RESEARCH ROOM RESIDENCY My Grandma’s Story: busy hands speaking country Vicki Van Hout, a contemporary indigenous choreographer, will undertake a six-week cross cultural and interdisciplinary creative/research development project for an outdoor dance and new media installation, which will highlight the ongoing nature of ‘traditional’ aboriginal practices based upon telling story through the act of painting. She will explore the continual metamorphosis of culture to the present day by examining how cultural information is disseminated. Apr–May Location: The Drill Hall Supported by The City of Sydney CLAUDIA GARBE: RESEARCH ROOM RESIDENCY/ARTIST EXCHANGE Claudia is studying Choreography (MA), Hochschule für Schauspielkunst „Ernst Busch“/HüTZ in Berlin, Germany. Claudia writes “My temporary working interest in choreography is the question of writing and reading dancing. My current work is experimenting with notation as an interdisciplinary and collaborative project - how to write moving and how to move writing.” Through her residency at Critical Path she would like to open up a three-day exchange with people interested in similar research questions within a movement-based choreographic practice. This will take place from 1–3 September. Alongside this, Claudia will continue an exchange she began with Lizzie Thomson during her SODA Residency in Berlin 2009. Aug–Sep Location: The Drill Hall 1–3 Sep, Artist Exchange Workshop Expressions of interest are due 1 Jun PERFORMANCE SPACE RESIDENCIES Critical Path will link up with Performance Space in 2010 to provide work space, a key resource in the development of new dance work. The Performance Space residency program supports both practice-based research and the creative development of new work. Increasingly its focus is on staged commissioning of new works for presentation by Performance Space and/or other organisations and festivals. Artists receive financial support and in-house resources to work creatively, access important critical feedback and to audience-test new ideas and new audience interfaces. 15 Feb–7 Mar and 6–19 Dec in partnership with Performance Space LIGHTING FOR PERFORMANCE LABORATORY Light Lab will explore participants’ conceptual/ experimental/structural ideas for lighting in performance. TBC, Performance Space, CarriageWorks 6 NSW choreographers and stage/lighting artists Presented in partnership with performance space Expressions of interest are due 1 Jun (NSW based choreographers only) Performance Space website IMPRO-EXCHANGE 2010 Building on previous laboratories in 2006, 2007 and 2009, IMPRO-EXCHANGE 2010 is a series of three intensive three-day labs facilitated by Tess de Quincey in collaboration with Martin del Amo. The project aims to further explore the nature of improvisation between dancers from different backgrounds, ages and traditions and to generate a forum of dialogue, exchange and discussion around strategies and processes of improvisation. Expressions of interest are invited from dancers interested in participating and collaborating. Each participant is required to be present for all the working sessions within one lab, ie during the working hours 10am–4pm on each of the three days. 21–23 May, 4–6 Nov and 2–4 Dec Location: The Drill Hall Expressions of interest are due 1 Mar (open to all Australian choreographers) Presented in partnership with De Quincey Co BRAD MILLER: RESEARCH ROOM RESIDENCY augment_me is a responsive motion tracking database visualiser and real-time granular-synthesis sound generator. It is a robust system or platform for performative experimentation, that is able to co-develop performances from scratch or rework previous performances using new images, video and sounds. Brad Miller will present the system at Critical Path on the 30 and 31 October. He also invites chorographers and/or performers with the view to developing new manifestations of the system to contact him at the web address below. View video material: Brad Mille website 18 Oct–4 Dec Location: The Drill Hall Public presentation and forum 30 and 31 Oct EAST COAST EXCHANGE Since 2008 Critical Path has been partnering with Dancehouse (VIC) to facilitate exchange and debate between NSW and Victorian-based choreographers on the making of work. NSW based choreographers are invited to lodge an expression of interest to take part in an exchange with Dancehouse’s Housemate resident for 2010. The successful applicant will be provided with the resources to conduct a two to three-day exchange at the Drill Hall which will culminate in an ‘open studio’ discussion/showing. Past exchange artists include, Kimberley McIntyre (NSW), Emma Saunders (NSW) Phoebe Robinson (VIC), Martin del Amo (NSW) and Tim Darbyshire (VIC). 29 Nov–1 Dec Location: The Drill Hall Presented in partnership with dancehouse (vic) Expressions of interest are due 1 June (NSW based choreographers only)

Back to Top GUIDELINES - Responsive Program Guidelines Please click on the '' symbols below to find out more. Closing date: 4 October, 2010 Decisions advised: Early November.A ll responsive grant categories are selected by peer assessment and all decisions are final. Projects from: 1 January to 31 December, 2011 (sessions negotiated around other programs) Your application and support material must be mailed to PO Box 992, Edgecliff, NSW 2027 by 5pm on Monday 4 October, 2010. Please clearly mark your application and support material and keep a copy for your own records. 2011 Responsive Program Guidelines available soon. SUPPORT OFFERED BY CRITICAL PATH Critical Path funds a diverse range of research opportunities through the Responsive Program. Research Residencies: At The Drill or offsite in NSW with space for up to 5 weeks and a budget of up to $12,000. Including the option of joining the UNSW Dance Research Residency Program located at Io Myers Studio, in the School of English, Media and Performing Arts (EMPA), the Creative Practice and Research Unit, University of New South Wales with space for up to 4 weeks and a budget of up to $12,000. Please note the specific dates offered at Io Myers Studio. EMPA Profile for Creative Practice Residencies Io Myers Studio Equipment List At The Drill with space only for up to 2 weeks. Fellowships: In tandem with Deborah Hay’s solo commissioning project. A 10 day intensive laboratory with Deborah Hay and other dancers from VIC and WA at Bundanon from 10 - 19 March, 2010; plus space at The Drill for 2.5 months (8 hrs per week) from mid March - late May, 2010; and a budget of $2,000. Dancers who express an interest will be invited to an auditioning workshop with Ros Warby on 31 October, 2009.   At The Drill or offsite in NSW with space for 3 months (8 hrs per week) placed around other research residencies and a budget of $2,000. Please note: You can submit up to two applications - one from the Research Residencies and one from th Fellowships. Sometimes Critical Path has more space than budget to offer through the Research Residency strand. If your research project can take place with a space only you may apply for this in your application. Space only enables more research activity to take place in the year however we will not offer this to you unless you state it as a viable option for your research. GENERAL ELIGIBILITY • You must be a NSW resident and have proven status as a choreographer (please refer to our Definitions below). • Genuine research proposal GENERAL CRITERIA ASSESSMENT CRITERIA • Relevance of research to your practice and/or opportunity to interrogate approaches to choreographic practice. • Clarity and integrity of research proposal, methodology and tools. • Relevance of the proposed documentation and evaluation of your proposed research process. RESEARCH PROPOSAL MUST: • Be a maximum of two A4 pages at 12 point font. • Outline the questions or points of investigation that underpin your research. • Explain how your proposal connects to your ongoing practice or provides an opportunity to interrogate approaches to choreographic practice. • Outline your methodology and tools - how you will explore the questions. • Define the roles of each of your collaborators. Outline the rational and methodology for each of the artists you are going to work with. We encourage you to have an average of three collaborators over a four week period as opposed to five collaborators over a three week period. • Outline your methods of documentation and evaluation. • Give examples of other research or artist practices that are relevant to yours and explain in what ways. • Outline what is the most appropriate forum for your research. Please be sure to check the special assessment criteria outlined in the 2010 Responsive Program Guidelines and Application Form here. HOW TO APPLY Applicants are strongly encouraged to discuss their proposal with Margie Medlin, Critical Path's Director prior to submitting their application. We have set aside four Thursday afternoons from 1 pm-6 pm for applicants to discuss their projects with Margie - Thursday 10, 17 and 24 September, and 1 October. Please call Katy Coote on 02 9362 9403 or email admin@criticalpath.org.au to book in an interview time - don't leave it to the last minute to book. • Before you apply, please ensure that you check that you are eligible to apply and review the eligibility and special assessment criteria for each option. • You must complete the application form and your proposal, enclose the relevant support material and provide a budget using the template provided showing the amount paid to participants, production and administration, and the amount requested from Critical Path. • You must complete the application checklist. Once you are ready, mail your application and support material to PO Box 992, Edgecliff, NSW 2027 by 5 pm on Monday 5 October, 2009. SUPPORT MATERIAL • You must provide a full CV (at least two pages) for the key applicant and a short (one paragraph) biography for each of the participants. • You must provide two industry referees to verify your status as a choreographer. • You may also submit additional support material such as CDs, DVDs, photos or booklets. If you do, one copy of each must be provided and DVD material should be no longer than 20 minutes. You must also outline how the material submitted relates to your application. Please mail your additional support material to PO BOX 992, Edgecliff NSW 2027. Please note: by submitting support material such as CDs, DVDs, photos or booklets with an application you can authorise Critical Path to include this media in the Critical Path Research Collection. Material held by Critical Path can be used for research purposes by Critical Path, external organisations or individuals subject to Critical Path approval. All copyright is retained by the artist and may not be reproduced. ASSESSMENT AND REVIEW All submissions are ranked against the assessment criteria listed in these guidelines. It is up to you to decide which option best suits your research proposal and to read the related assessment criteria. Submissions will be assessed by a panel of arts workers drawn from the performing arts sector including the Director of Critical Path. Applicants will be informed of decisions in late October. REPORTING AND AQUITING Successful applicants are encouraged to submit a report (between 750 and 1,000 words) and 3 - 5 images for archival purposes and publication on the Critical Path website. These must be received no later than six weeks after the conclusion of the project. Any reports pending will make applicants ineligible to apply for further Critical Path programs. DEFINITIONS The definition of a "NSW resident" is: • having a permanent address in New South Wales; • working at least 3 months of each year in New South Wales; and • having a track record of working in New South Wales and the intention to continue working in New South Wales in the foreseeable future. The definition of a "choreographer" is an artist who: • calls themselves a choreographer; • has presented at least two dance productions of their own in a professional context, that is, with paid performers in front of an audience or has a professional dance making practice; and • can provide two professional referees to advocate for this. The definition of "Research" is: Critical Path acknowledges that research rarely stands alone and may exist within a range of contexts, that is: • the ongoing development of an artist's practice; exploration of new forms, technologies and techniques; • exploration of new collaborative partnerships; or the seed of a new work. Whilst the size, shape and format of proposals will vary greatly, a strong research proposal will have a clear set of questions which underpin its rationale and direct its methodology. The primary objective of a genuine research proposal is the investigation of these central questions. A research project: • has the potential for new discoveries to emerge throughout its duration, with a focus upon enquiry, investigation and exploration; • proposes objectives relating to explorations of form and/or content and has the potential to contribute to the ongoing practice of the choreographer; • sets achievable goals, within the limitations of time and budget available, and clearly articulates how each goal will be addressed in practice; and • has room to fail. A "research" project is distinct from a "creative development" project, which is formulated with the creation of a production as the next inevitable step for the artists involved. FREQUENTLY ASKED QUESTIONS Does Critical Path support any particular type of work or particular artists? Critical Path first and foremost supports projects that meet the criteria. It encourages a diversity of participants but it is entirely consistent with the Responsive Program’s aims that artists can receive support for different applications in different rounds or indeed for further research on a previous research project. Are we looking for a range of big and small projects? Yes, Critical Path seeks to support a variety of project types, ranging from solo investigations over a few days to projects where the choreographer works with inter-disciplinary artists over several weeks. There is no typical Critical Path research project. Are we looking for a range of on and off site projects? Yes, Critical Path encourages many forms of creative research, including reading, mentoring etc and we support projects that do not depend on studio time at The Drill. Do we penalize people showing up in several projects? Eligible choreographers may submit only one proposal per year. However, choreographers may be involved in projects initiated by other artists in that same year. Will we accept different rates of pay? Critical Path encourages applicants to adopt a standard weekly wage of $850 for each participant in your project for a full-time schedule (i.e. 9am-6pm, 5 or more days per week). The suggested rate for a part-time schedule (i.e. 10am-2pm or 5pm-9pm, or less than 5 days per week) is $425 per week.