In September 2003, TCG convened representatives from African-American, Latino and Asian-American theatres to discuss the survival and future of American theatres of color. In the words of St. Louis Black Repertory Company producing director Ron Himes, who had initially suggested the conference, the goal was to allow participants to take stock of the current situation and to “move these organizations forward as a community.” With support from the Howard Gilman Foundation and the Nathan Cummings Foundation, leaders from 21 theatres met at the White Oak Plantation in Yulee, Fla., and deliberated about six critical themes: funding; the artistic process and work; audience composition; the organization development of leaders, staff and artists; education and training programs; and media and criticism. Of these, funding was the unmistakable and inevitable über-consideration. Frank, sometimes painful and often impassioned conversation among the White Oak conferees provided inspirational yet sobering insights into the sustainability of theatres of color and the challenges—shared and unique—they confront.
As a consultant, I prepared a report that attempted to capture the complexity of the discussions, as well as summarizing some of the potential “next steps” suggested by the participants. The report was circulated to over 600 organizations serving communities of color (African-American, Latino/Hispanic, Asian-American/Pacific Islander and Native American). Not limited to TCG member theatres, the group included theatres of color, multicultural theatres, service organizations, ethnic-specific arts organizations and universities. Those receiving the report were asked to participate in a survey to help identify areas of concern for theatres of color and multicultural theatres. Survey results will assist TCG in continuing to provide programs and opportunities to discuss key concerns.
The article that follows is an edited version of my report, which can be viewed in its entirety on TCG’s website, www.tcg.org. Every individual at the conference contributed to the full flow of the conversation and offered valuable insights on the issues under discussion. For the purposes of readability, however, this article is only able to include selected remarks which have been attributed with the permission of the speakers.
How Is Your Health? Capitalization and Infrastructure
"There is general acknowledgement of our artistic differences as ethnic theatres, but is it reasonable to suppose that uniform management priorities will suit us? Perhaps our inner beings are culturally in conflict with a corporate management template." — Rosalba Rolon, artistic director, Pregones Theater, Bronx, New York
In preparation for the conference, TCG asked Duke associate professor Zannie Giraud Voss—who has conducted TCG’s Fiscal Survey analyses since 1998—to survey the participating theatres. Voss tabulated information on the 19 theatres (out of 21) that responded and compared the results to the larger universe of TCG theatres of various sizes. A key feature of this analysis was to compare data among the responding theatres according to ethnicity, i.e., African American, Asian American and Latino.
During the 2002 season, the participating theatres were extremely productive. Attendance at these 19 theatres totaled almost 202,000, with 1,489 performances of 110 productions, and nearly 435,000 people were served by the organizations’ 78 education and outreach programs. The aggregate earnings of this group was $3,640,114, with total contributions of $8,092,662, for total earned and contributed income of $11,732,778 against expenses of $11,520,727, resulting in a cumulative positive change in unrestricted net assets (CUNA) of $212,051. This activity also resulted in employment for a total of 1,097 people.
Of total income from these 19 theatres, 31 percent was earned, as compared to 43-48 percent in the larger TCG universe. Earned income analysis indicated a reliance on single-ticket sales, rather than subscription, and a limited profile of other earned income, due in large measure to the fact that very few theatres of color own or operate their own facilities, and that cash reserves and endowment funds are virtually absent in this sector.
The contributed income analysis was notable for the differences among the cultural groups in the allocation of different income sources, though theatres of color share a relatively low percentage of individual and board-attributed giving. The low level of individual support is worrisome, because increases are essential to growth and sustainability and are a barometer of institutional vitality and community support. The most pronounced concern is the absence of working capital, leading to a negative working capital ratio. A healthy organization should have at least three months of working capital in place. If the theatre’s working capital is negative, the institution is undoubtedly experiencing cash-flow stress or financial crisis. In this difficult financial climate, discussion of endowments, investments and securities seems both remote and essential.
Five areas were identified as overarching financial challenges shared by all theatres of color:
- to move beyond a hand-to-mouth existence by building a working capital reserve and improving the working capital ratio;
- to increase individual giving both from the board and other individuals, while developing a culturally sensitive approach to donor development;
- to define a healthy relationship between earned and contributed income and clarify the relationship between marketing and development to maximize the effectiveness of both;
- to improve single-tickets sales while identifying other models for earned revenue that reflect the theatre’s mission and capitalize on its strengths;
- to understand and evaluate the organization’s potential for growth.
Ultimately, participants agreed, the goal is more than a balanced budget. How do theatres move beyond equating survival with success, to genuine financial health and stability? A key part of that success might be turning the artists, audience, community and even donors into shareholders, so that they become invested in the organization as ticket buyers, donors, in-kind service providers and overall kindred spirits. The idea of building shareholders—or stakeholders—goes beyond fundraising; it means building investment in the organization at every level: investment of time, energy, passion, commitment and yes, money, to ensure its sustainability as a community resource.
Vesting and Investing: Articulating Current Realities
"We're essential...symbiotic in our relationship with other theatres and with society as a whole. Other theatres have an interest in the opportunity that race affords, but they are not as invested for the long haul as we are." — Rick Shiomi, artistic director, Theater Mu, Minneapolis
Delving into other realities that influenced their ability to be successful, participants agreed that theatres of color are affected by an array of external forces, including:
- a lack of public awareness of the theatres’ unique cultural perspective;
- a dearth of critical writing that might educate the general public about the theatres’ work;
- the impact of inadequate and/or uninformed media coverage;
- the loss of mature artistic talent and material to larger institutions;
- the fact that larger institutions are credited with developing forms that were nurtured in theatres of color;
- pressures to conform to external metrics of organizational success;
- control of resources within the “dominant” culture;
- funders who fail to understand the unanticipated consequences of programs that assume specific models of leadership or management structure;
- programs aimed at building diverse audiences that benefit the major institutions, sometimes at the expense of ethnic-specific organizations.
But the survival of theatres of color can also be affected by internal factors—when artists and staff members at the theatres learn how to articulate the theatres’ value as institutions, rather than taking that value for granted; when a stronger case is made for the existence of theatres of color for their own sake, not just as feeders to mainstream culture; and when the theatres train artists, staff and audiences of color to feel vested in the organizations.
Artistic Issues
In many ways, the conference assumed that the artistic process and work are what is right about theatres of color. And since theatres of color share many fundamental concerns of the theatre community as a whole, the conference made no attempt to be comprehensive in discussing artistic concerns, except in two important areas: the case for theatres of color, and artistic collaborations.
Theatres of color report that they are constantly called upon to justify their existence. The media, funders, educational institutions—none of these entities seem to recognize the quality of the work and the generative role played by theatres of color, as touched on in the powerful heritage presentations that launched the conference. Jennifer Nelson, producing artistic director of the African Continuum Theatre Company in Washington, D.C., quoted Kennedy Center president Michael Kaiser, who put the problem succinctly, “You’re not famous enough.” “It’s not about the quality of our work,” she clarified, “we’re just not known enough for what we do.”
Theatres of color feel that control of financial resources is centered in “mainstream” culture, allocated in a format that may not be sensitive to differing assumptions of leadership in ethnic communities. The theatres continue to feel marginalized in the process that defines the terms and sets the policies for support. Even when issues of diversity and access are addressed head on, the diversification of the mainstream audience is often achieved at the expense of theatres of color—programs have been aimed at changing the audience demographic in mainstream institutions, while appearing to ignore the role historically played by theatres of color.
Faced with institutional constraints, and lacking widespread recognition, theatres of color have made collaboration a critical strategy, with both constructive and deleterious results. While there have been many productive collaborations, more often theatres of color have felt that they are left holding the short end of the stick, because of financial, artistic or perceptual imbalances of power. The sheer size of the larger partner sometimes overshadows the generative role of the smaller, and efforts to clarify who did what may be overlooked, particularly by external audiences and the press. “You have to know what you want and why you want it,” said Woodie King Jr., producing director of New Federal Theatre in New York City. “And you have to clearly define the goals and mutual responsibilities, the ground rules.” Mutual respect, inclusion and shared authority have to be part of the upfront conversation, conference participants agreed.
Education, Training, Professional Development and Audiences
The subject of education programming prompted intense and impassioned discussion. Theatres are anxious to clarify that they put theatre production first, and that educational programming should be designed to serve that goal, but the reality is that this balancing act is not easy. Education and training programs are intrinsic to most theatres of color. But even while they embrace this responsibility, they remark upon a serious tension between being true to the theatre’s mission and accommodating the expectations of the education, funding and community sectors; the shifts in public and private funding priorities; the constantly shifting education standards; curricular changes; and administrative expenses.
At the college and university level, several theatres have formed symbiotic relationships with academic institutions, providing services in exchange for space or access to student marketing opportunities. Other theatres have developed apprenticeship programs with an eye to increasing awareness of jobs in theatre and creating an effective transition stage between academia and professional theatre.
The discussion of professional development—from artistic and staff skills-building to succession planning—prompted numerous anecdotes about the importance of mentors. Here again, participants remarked on the tension between theatres’ desire to nurture leaders of tomorrow—and their responsibility to do so—and the recurring reality of losing mature talent to larger, more visible institutions and opportunities. Rather than resisting or resenting the defection of artists to larger theatres or to film, some theatres have been able to turn this reality into revenue-generating programs, such as professional development workshops. In the end, conferees agreed, a healthy institution is better positioned to provide services the community needs. “We must strengthen our institutions to take on the responsibility of developing and training voices of color to tell our stories well,” said Nelson.
Succession planning is a delicate subject, because so many leading institutions are approaching 25th, 30th and 35th anniversaries with visionary founders still very much at the helm. The basic concerns are, in Rolon’s words, “succession and retirement with dignity” and the ultimate founders’ question, “Who is going to do this work when we’re gone?” Theatres acknowledge edge the importance of distinguishing between leadership transition itself and succession planning, which relates to preparedness and setting priorities.
Audience development is finally at the heart of many education and outreach initiatives. Though some theatres fear that educational programming diverts them from their core mission, others believe this work is absolutely central to their long-term goals. “It is about vesting the community and about audience development, which ultimately drives everything we do,” says Himes. At the same time, Abel Lopez, associate producing director of GALA Hispanic Theatre in Washington, D.C., noted “a tension between staffing educational initiatives and the fact that young people are our audience of the future.” One of the participating theatres offers a free season ticket to any student in its summer program whose parent purchases a season ticket for the coming year.
Media and Criticism
Discussion about the role of media revolved around two considerations: How can the media—print, radio, television—best be utilized to market the work of theatres of color; and how does media-based criticism help or hinder the theatres’ work?
The different forms of media play a central role in what theatres view to be their potential for success. Advertising in traditional electronic media appears to validate the theatres’ work to potential buyers. Television is viewed as most desirable and effective, while print, though important for institutional credibility, lags well behind both television and radio in eliciting buyer response. The reality is that theatres of color can rarely afford the volume of media advertising that would make a difference. Some theatres feel that radio is the most cost-effective medium, especially in communities of color. One theatre reports that advertising appropriate productions on Christian or gospel stations achieves the highest return on radio advertising dollars. In Internet advertising, some theatres have been successful with online “blasts.” Others corroborate that in the face of the prohibitive expense of print, the Internet provides the most cost-effective way to attract new audiences, though many report that direct mail works best to retain core audiences. All theatres in the sample group utilize some form of Internet marketing.
Relationship-building can be important to effective use of media, whether with a radio announcer who helps with public service announcements or in successfully placing feature stories. Another theatre has formed a successful partnership with a local cable station, which promotes its productions and provides other useful in-kind services. Bilingual considerations drive media and marketing costs up for many Latino theatres.
There is concern that journalism training fails to properly prepare editors and critics to understand the roots of culturally specific work. Criticism is an area of ongoing frustration (though, needless to say, dissatisfaction with the critical establishment is age-old and industry-wide). Many conference participants commented that the press seems neither well informed about nor interested in the cultural underpinnings of the work under review. And many theatres of color feel that they are last on the list for critical coverage, so that their work is often not seen and consequently fails to be considered for season theatre awards. African-American theatres in New York City, St. Louis and elsewhere have established their own awards for African-American theatres and artists to ensure that the work of their artists is not overlooked.
More Than Mere Survival: Strategies for the Future
"There is a need for strategy even when many things are out of your control. Your list may be different from that of a mainstream theatre, because something is a priority for you regardless of whether it is an industry standard." — Diane Burbie, facilitator, The Aspire Group, Pasadena, Calif.
Throughout the conference, participants noted the importance of the opportunity to talk with peers who share common goals and challenges, but they also emphasized the urgent need to move past exchange of information to tangible outcomes. Himes invoked Booker T. Washington, saying, “Cast your buckets where you are.” He continued, “I’m really trying to get us to a point where we can look at ‘What do we want to do about it [the survival and health of theatres of color]?’ and ‘How do we become proactive?'”
The conversation generated suggestions for possible strategies related to funding, technical assistance, marketing and communication.
Funding: Taking a page from TCG’s New Generations program, participants suggested that one outcome of White Oak might be a structured funding program dealing with issues that are unique to this sector of the theatre community. Such a program and its requirements should avoid a cookie-cutter approach to organizational structure and be sensitive to the importance of “sweat equity” in measuring the contributions of board, staff and audience to the health of the organization. The theatres expressed the need to define and work toward a healthier and more diversified mix of earned and contributed income and more robust individual donor and board participation. Perhaps the most evident gap in the financial health and growth for this sector of the theatre population is the absence of working capital and even the most nascent endowments.
There was interest in bringing funders to the table with culturally specific theatres for a candid discussion of mutual concerns. Several foundations are generating data to demonstrate the direct benefit of building working capital, as well as evidence of the best approach to achieving that goal. Jayne Khalifa, managing director of the Penumbra Theatre Company in St. Paul, Minn., noted, “When we talk about how we can afford to pay people a living wage, I don’t expect that anyone is going to just give it to us. It’s attention to underlying strategies that we can employ—attention to financial grounding—that gives us a clue as to where we have to go to reach our goals.”
Technical assistance: The conversation prompted requests for legal and/or accounting assistance for help with financial management strategies and contract negotiation. Participants also expressed interest in learning about easy-to-use software for linking development and marketing databases, box-office and financial reports, and mailing lists. Also desirable, they agreed, would be assistance in thinking through technology cost-benefit analyses. Theatres confronting these issues for the first time are understandably daunted, not only by potential cost, but by the prospect of thinking through the initial “What do we need?” questions. By contrast, other theatres—particularly those that have had more access to organizational development programs—were anxious to avoid yet another capacity-building program that that might overtax meager administrative resources. These theatres suggested that, with so many technical assistance programs available nationally and regionally, it was important to steer theatres to the right resource, rather than attempting to create programs anew.
Marketing: Mutual support and collaboration among theatres of color would help to raise awareness of their collective work, participants agreed. Discussion covered, among other issues, the possibility of a national advertising campaign that might raise the profile of culturally based theatres and their role in the fabric of community life. Several theatres expressed the need for more feedback in the area of public perception in order to better target marketing and earned-revenue strategies.
Communication: Commenting on a persistent sense of isolation, from the theatre community and from each other, participants pledged to include all the White Oak participants in their broadcast e-mail lists. Looking beyond the theatre community, the conversation stressed the need to build a dialogue with the academy; making the work of ethnic theatres and artists part of the standard theatre and literary history curriculum is key to reinforcing the validity of these artists’ work. Equally critical, participants agreed, is the task of connecting younger artists with theatre pioneers in order to strengthen a sense of legacy.
The dichotomy between unique experiences and shared problems of theatres of color was an underlying theme of the conference. Plainly, finances and funding were perceived to be at the heart of every institutional challenge, sometimes even altering core values and mission-centered programs. Though financial surveys speak to the precarious organizational health of this sector, there are persistent concerns about funding programs that posit a one-size-fits-all approach to institutional health. Facilitator Burbie summed it up, “There is the notion that all things being equal, this is what your organization would look like. Rather, consider that all things are not equal, and therefore what results is different strategies at different institutions.”
Most striking, as is frequently the case in both the not-for-profit and funding communities, is the intractability of problems—financial and programmatic, perceived and real. Perhaps most critically, as several theatres noted, we need to bridge the divide between theatre and donor. So many issues raised in this convening have been identified, defined and addressed over the years in local, regional and national programs. How can we learn from each other, not only theatre-to-theatre, but funder-to-funder?
“I feel like I’m in a sequoia forest, because I’m surrounded by giants,” observed Voss at the outset of the conference. The reference seems apt—and not just because of the tree’s legendary height. Sequoias have also been endangered by overlogging, and today must be protected by public and private means or face extinction. It may be that protection of a resource requires some external intervention to ensure continued health and well-being.
Unfiltered Voices: Investing in the Future
"The bottom line is that there are multiple perspectives and we need to see them all. If we don't tell our stories through unfiltered voices, then there is a distorted perspective of the contributions we have made. We must be allowed to tell our stories, to write our stories, to interpret from our own cultural perspective." — Jayne Baccus Khalifa, managing director, Penumbra Theatre Company, St. Paul, Minn.
Twenty-one theatres of color converged on White Oak with questions that are perennial but nonetheless critical. Why are theatres of color important? Why must they continue to justify their distinctiveness, as well as their importance? What is their relationship to the larger theatre world? What is expected of artists of color who want experiences and opportunities in both theatres of color and “mainstream” theatres? What do artists owe in return to the theatres, which nurtured them? How can theatres of color diversify their donor base and build working capital?
Many feel strongly that the role of theatres of color is to provide an artistic experience that compels artists to return again and again, even when they have pursued other opportunities. As Himes put it, “I have to continue to produce artists who are able to do what they want to do. Sometimes people outgrow institutions, and sometimes institutions outgrow people, and if they cannot realize the things they want to do, then it is time for them to move on.” Jose Gonzalez, executive director of the Miracle Theatre Group in Portland, Ore., continued, “If their experience with you has been positive, then you have threads going out everywhere that come back to you, and sometimes those relationships lead to other opportunities. So it is on us to create the most positive opportunities for the artists and administrators that work with us so that they can come back as ambassadors for the experience they had with us.” Rolon concluded, “And when they leave, I want to celebrate them.”
The notion of institutional investment extends to audience members, students and donors, as well. As theatres of color, what do we want our role to be in the larger market? People who feel invested in an organization, who are stakeholders in its health and success, who believe that they are better for the theatre’s existence, are people who will attend our events and volunteer to contribute time and expertise. Himes concluded, “People give because they are vested…So what can we do to get more people (artists, sponsors, donors, foundations, individuals) to feel vested?”
Citing the historically black colleges and universities, one conferee noted that they have not only survived, but thrived, because they continue to provide a unique and vital service, not only to African Americans, but to the society as a whole. “When you join these organizations [e.g., historically black colleges and universities, Girl Scouts], the contract between you and the organization is that they will be there for you every day,” observed TCG’s executive director Ben Cameron. “When we tell our artists, ‘Don’t call us; we’ll call you,’ we don’t open a relationship that welcomes a return from the artist, except when we need their services or contributions.” The holistic goal is more than improving single-ticket sales or delivering after-school programs or fundraising. Rather, strategic interactions with artists, with young people, with audiences—with the ultimate goal of building relationships—can result in both anticipated and unanticipated returns on behalf of the theatre.
Survival in these challenging economic times may, in itself, be admirable, but it is not sufficient. Passion, priority, commitment—these are the qualities that have ensured survival. Knowledge, artistry, planning and more commitment—these are the skills we need to move forward, so that theatres of color are able to realize the principles originally set forth by W.E.B. Dubois—a theatre “for, by, about and near” its people. Jorge Ortoll, executive director of New York City’s Ma-Yi Theater Company, expanded on “the idea of writing by and for our own audiences. We speak in our own voices and we are having our voices heard, not only by our communities but by the nation.”
Gonzalez concluded, “When we were considering what we would do, I was convinced that the center of civilized society would be the arts. At the end of the day, if you can’t dream it’s worth nothing. I saw that what we were doing as a theatre had to connect with the community. What I worry about all the time is that I don’t think I’m pushing ourselves enough to be who we really are. We need to always be mindful of the qualities that are vital to who we are.” Mia Katigbak, artistic/producing director of New York City’s National Asian-American Theatre Company, responded, “I would like to be an instrument for change, or part of the mechanism for change. And the way I can effect that change is to be true to myself and do what I know. I am a theatre artist and an artist of color, and I must act from who I am.”
The following individuals participated in the White Oak conference:
Gary Anderson, producing artistic director, Plowshares Theatre Company, Detroit, Mich.
Andrea J. Barefield, marketing director, The Ensemble Theatre, Houston
Jamie J. Brunson, managing director, New Freedom Theatre, Philadelphia
Diane Burbie, facilitator, The Aspire Group, Pasadena, Calif.
Emilya Cachapero, director of artistic programs, TCG
Ben Cameron, executive director, TCG
Joan Channick, deputy director, TCG
Sheila Kay Davis, founder/artistic director, New Professional Theatre, New York City
Sylvie Fan, communications director, Pan Asian Repertory Theatre, New York City
Michael Francis, artistic programs associate, TCG
Jose E. Gonzalez, executive director, Miracle Theatre Group, Portland, Ore.
Ron Himes, founder/producing director, St Louis Black Repertory Company, St. Louis, Mo.
Mia Katigbak, artistic/producing director, National Asian-American Theatre Company, Brooklyn, N.Y.
Jayne Baccus Khalifa, managing director, Penumbra Theatre Company St. Paul, Minn.
Woodie King Jr., producing director, New Federal Theatre, New York City
Grace C. Lee, general manager, Second Generation, New York City
Abel Lopez, associate producing director, GALA Hispanic Theatre, Washington, D.C.
Lorenzo Mans, literary manager, INTAR Hispanic American Arts Center, New York City
Jennifer L. Nelson, producing artistic director, The African Continuum Theatre Company, Washington, D.C.
Jorge Z. Ortoll, executive director, Ma-Yi Theater Company, New York City
Xochitl Ramos, theatre in education coordinator, Bilingual Foundation of the Arts, Los Angeles
Brendan Rawson, president, board of directors, Teatro Vision, San Jose, Calif.
Rosalba Rolon, artistic director, Pregones Theater, Bronx, N.Y.
Suzanne Sato, freelance consultant, Honolulu
Rick Shiomi, artistic director, Theater Mu, Minneapolis
Chris Shuff, director of management programs, TCG
Anahuac Valdez, general manager, El Teatro Campesino, San Juan Bautista, Calif.
Zannie Giraud Voss, associate professor, Duke University; producing director, Theatre Previews at Duke, Durham, N.C.
Stefanie Y. Wong, PR/marketing manager, East West Players, Los Angeles
