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Home My WebLink AboutM-97-07151 CITY OF MIAMI, FLORIDA INTER -OFFICE MEMORANDUM TO: Edward Marquez City Manager he mat4ersknb6son FROM: ommissioner 13,A DATE: October 1, 1997 SUBJECT: Request for Personal Appearance REFERENCES: ENCLOSURES: Attached please find a request for a personal appearance before the City Commission. Please schedule this item for the October 14, 1997 meeting. Thank you. attachment FILE: t'r'1 3 cl� 97- 715 1 RIM Mm Rum 97- 715 ®' s L A �' C K D O 46.qtIc Atectot R A native of Oklahoma with rearing in African -American and Apache heritages, Karen brings her talents and expertise from a diverse background in dance. Educated with a Bacheloes degree in psychology from Florida A&M University and a Master of Fine Arts degree in dance from Florida State University, through her prowess, she makes an indelible mark on the South Florida dance community. She trained in the Graham, Horton, Cecchetti, Vaganova, and African techniques with such notable teachers as Martha Graham, Pearl Lang, Arthur Mitchell, Yuriko, Armguard, Helen McGeehee, Sara Rudner, Karl Shook, Tanaquil le Clerq, Oluntunje, Mary Anthony, Bertram Ross, Jurgen Schneider, Gus Giordano, Fred Benjamin, Peter Nelson and Milton Meyers. Among her many choreographic productions are Pippin', Eubiel, Carnival, Don't Bother Me 1 Can't Cope, Marry Me A Little, Dark of the Moon, Atlantis Rising, The New View Dance Theatre in Concert for.WPBT-PBS and WXEL-TV. She toured with Warner Brothers recording artists, Atlantic Stares "All in the Name of Love" Tour to England and Holland. Professionally, she has performed with the Charles Russell Dance Company, Dance Miami and Mary Lois Sweatt Dance Company. Karen is currently professor of dance at Miami Dade Community College's North Campus; director of the college's dance company, The Repertory Dance Theatre and an adjunct professor of dance at the University of Miami's School of Music dance department. She is a consultant for the New World School of the Arts dance program and.ballet mistress at Miami Northwestern Sr. High School's P.A.V.A.C. program. Karen incorporated the Black Door Dance Ensemble in 1991 and created Metropolis Dance Theatre in 1994; forming a professional company from which multi -ethnic dancers can express their talents in a variety of dance styles and reflect a positive image of Miami's multi -cultural community. Today, the company is known as Black Door Dance. 97 715 7 SOL Door Dance Ensemble c. Presents The Dancers 1998-99 AEALYA BRUNSON: A Georgian by birth, she has lived in St. Petersburg, Florida where she began her formal dance training at a very early age. She is a graduate of the New World School of the arts where she has danced with renowned choreographers like Peter London, Reginald Yates, Gem Houlihan and Momentum. She is the newest member of Black Door Dance. WENDY JO CAREY: Joining Blade Door Dance in 1996 she has quite a reputation in dance. Her credits read as follows: 1986 in Edward Villela & Allegra Kent's version of Concerto Barocco, NEFAA first place winner in Modern and Jazz dance (Presidential Scholar, "Set Me Free" choreographed by Karen Stewart) in Jane Carrington's False Entrances, 1989.90 in Dayton Contemporary Dance Company, Mike Malone's Black Nativity and his Coming Forth In Today, Alvin Ailey's Streams, Eleo Pomare's Miss Aluba (The Nun). She is a native of Miami. ASHA DARBEAU: Asha was born In Trinidad and moved to Miami at age 10. She is a graduate of the New World School of the Arts and an Arts and Recognition Talent Search second place award recipient. She became a member of Black Door In 199L ANNALISIA FERGUSON: A native of St. Andrews, Jamaica in the West Indies, she began her formal dance training at MiamPs Dance Exchange where she presently teaches. She continued her studies at the New World School of the Arts and Is currently a student at F.I.U. where she is pursuing a BIA. in Special Education. She performed in the 1996 National Tour of the "Chocolate Nut". Her professional career began with her membership to Black Door in 1997. AFUA HALL: Born in Negril, Jamaica and formally trained in Chicago under the direction of Rosemary Boras. She Is a 1996 graduate of New World School of the Arts in Miami, Florida. She has had the wonderful opportunity to perform for the Diva of Dance, Katherine Dunham. She joined the fine dancers of Black Door in 1996. VALEN IA JOHNSON: A native Miamian and dedicated artist with training from the New World School of the Arts, she has performed pieces by Peter London and Gerri Houlihan. She lends her artistic style and grace to the stages set by Black Door as the newest member. CATINA MAXWELL: Another Miamian whose studies encompassed 3 years in ballet, tap and modem dance techniques from Norland Center for the Arts with further training from the New World School of the Arts. Catina has been with Black Door since1996 . SHERRAINE SCOTT: A native West Indian, she hails from St. Catherine, Jamaica. Her studies M dance began in Melbourne, Florida at the Ballet Theatre of Brevard. She is currently a student at the New World School of the Arts and is entering her senior year, as a BFA candidate. She added her Caribbean flavor to Black Door In 1996. FAREEDHA WILLIAMS., A Miamian who is an original founding member of the Company and a graduate of the New World school of the Arts. A dedicated dancer and a skilled artist, she has performed for choreographers such as Peter London, Daniel Lewis, Reginald Yates and Jane Carrington. For two consecutive years. Fareedha has been awarded a scholarship to the Florida Dance Festival and the Jacob's Pillow Dance Festival, where she studied with Dwight Rhoden, formally of the Alvin Ailey Dance Theater. Fareedha has also studied under Ana Marie Forsythe, James Truitt, Ethel Winters, Menaka Thakkar, and Jawole Zollar of Urban 'Wsh Women. Her studies with these capable pros constitutes her skill in techniques of Graham, Limon, iorton, African and Indian Dance. Fareedha has been a member of Black Door since 1991. LATISHA WILLIAMS: Bon in Miami, Florida she is of Dominican heritage. She has trained under Gerri Houlihan and Bambi Anderson at the New World School of the Arts. She has added Latin flavor to BDD since 1997. 8 S7- "�� 5 SARITAALLEN DANCE COMPANIES Alvin Ailey American Dance Theater Principal Dancer The Jamison Project Principal Dancer, Associate Choreographer Agnes DeMilWs Heritage Dance Theater Principal Dancer Elsa Monte Dance Company Principal Dancer Complexions Principal Dancer TEACHING EXPERIENCE Alvin Ailey American Dance Theater Company Teacher The Jamison Project Company Teacher UCLA Dance Department Master Class Kansas City Public School System Master Class Boston Public School System Master Class SPECIAL GUEST APPEARANCES Alvin Ailey American Dance Theater President Bill Clinton Inauguration [The White House, Washington DC]; President Jimmy Carter Inauguration [The White House, Washington DC]; King Hassan of Morroco Birthday Celebration [His Highness' Palace, Marakesh]; Heads of State [The Pyramids of Giza, Cairo Egypt]; Emperor of Japan [Tokyo], King Gustav of Denmark [Tivoli Gardens, Copenhagen]; Heads of State [The Acropolis, Athens Greece]. TELEVISION / VIDEO For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf [Sechita] PBS Great Performances, Jack Venza, Producer; The Jackson's Victory Albums Torture [Featured Dancer] CBS Records; Ailey Celebrates Ellington [Featured Dancer] CBS Television; Bill Cosby Salutes Alvin Ailey [Featured Dancer] NBC Television. FILM The Cotton Club [Featured Dancer] Francis Ford Coppola, Director; Beat Street [Featured Dancer] Orion Pictures; The Last Dragon [Featured Performer] Berry Gordy, Producer; Angel Heart [Featured Dancer] Allan Parker, Director. COSTUME DESIGN Maurice Bejart • Ballet Nuevo Mundo de Caracas • The Washington Ballet Y Elisa Monte • Jennifer Muller 212,864-6578 - 97- 715 9 Ll NATHANIEL TRICE Columbus Circle. P.O. Box 20151 New York, New York 10023 (917) 953-9174 g12) qqt-il7D TRAINING 1991-1993 Alvin Ailey American. Dance Center, Certificate Program 19W I991 San Diego Mesa College of Dane 1985-1988 San Diego Cite College of Dance PERFORMANCE EXPERIENCE 1994-present Complexions: A Concept in Dance 1996-1997 & 1994-1995 Donald By rd/The Group (The Harlem Nutcracker) 1995 Joseph Holmes Chicago Dance Theater 1994-1995 Momix Dance Company 1991 Alvin Ailey Student Performance Group 'HOREOGRAPHIC CREDITS 1996 "Stuff" An evening of original works choreographed and produced by Nathan Trice presented at the Alvin Ailey American Dance Center 1996 "Process" Group piece for the Alvin Ailey Global Harmony Showcase 1994 "Love; Again" 1994 Cultural Festival Olympic Gay Games 1993 "Passion" Group piece in collaboration with Momix Dance Company 1992 "Self Confrontation" Solo, for the Fast Harlem Tutorial Cala Benefit, and for the Alvin Ailey Student Performance Group 1990 "The Rhythm" Group piece for the'San Diego Mesa College of Dance Winter Gala 1998 "Heat" Group for piece for the San Diego Mesa College of Dance Spring Gala TEACHING EXPERIENCE 1996-present Dance instructor, Creative Outlet Youth Program, Brooklyn New York 1995-present Master classes and choreography workshops at the Federation. Rcgionale de Danee de Guvane Francaise, in French Guyana 1995-present Dance instructor for the Alvin Ailey Camp 1995 Lecture demonstrations and workshops with Joseph Holmes Chicago Dance Theatre . 1994 Assisted with the summer workshop of Momix Dance Co. 1.993 Master classes and lecture demonstration with the Alvin Ailey Student Performance Group 1993 Master classes at San Diego 1\ lesa College of Dance 10 �7- 715 ANDRE'YSON DANCER - ACE INSTRUCTOR - CHOR RAPHER (718) 3W- TRAINING Inner City Ensemble Theatre and Dance Company Harlem Children's Theaire Company The School of the Garden State Ballet Alvin Ailey American Dance Center N.B.S. Radio Rutgers University TEACHING EXPERIENCE Alvin Ailey American Dance Center Associazione Italiana Danzatori Dance Point Professional Dance Center Universidade Federal do Bahia Victori Arts Collaborative Austin Contemporary Ballet North Carolina School of the Arts Wake Forest University PERFORMANCE EXPERIENCE Inner City Ensemble Theater and Dance Company Alfred Gallman's Newark Dance Theater Alvin Ailey American Dance Center Workshop - Ailey III ^ Ivin Ailey American Repertory Ensemble - Ailey Il in Ailey American Dance Theater %.omplexions Dance Company THEATER The Emperor Jones" TELEVISION 20/20" with Hugh Downs -Marlin Luther King's Birthday Special" America's Tribute to Bob Hope" Kennedy Center Honors 1993 Inauguration/Inaugural gala COMMERCIALS Ferrari Jeans Technics Stereo Systems PRINT New York Times New York Daily News Dance Magazine 3 Scholarship Scholarship Communication Trainee Journalism and Mass Communication Major New York. New York Rome, Italy Osaka, Japan Tokyo, Japan Salvador Bahia, Brazil Victoria, British Columbia, Canada Austin, Texas Winston-Salem, North Carolina Winston-Salem, North Carolina Donald McKayle. Producer, Director Dancer Dancer . Dancer Dancer Dancer RUNWAY BOOKINGS (available upon request) VIDEOS Nona Hendricks Grace Jones Michael Jackson - "History" CHOREOGRAPHY Inner City Ensemble Theater and Dance Company, Westport Dance Center, Brooklyn Dance Theater, Alfred Gallman's wark Dance Theater, Dance Compass, Premiere Dance Theater, Nanette Bearden Contemporary Dance Co., Alvin .,ey Repertory Ensemble. Austin Contemporary Ballet 11 97- 7151 once in a great while comes a true voice of distinction. ;Bougla.5 Miller posses one of those voices that is unmistakably unique. His powerful and raspy baritone is one of a kind. That masterfully driven spiritual voice caresses each note that he sings then captivates and enraptures as he delivers the gospel in song.19bt Aft9iMl. capabilities of �Dwgl g Awr as a youngster in his Johnston, Pa. hometown choir were noticeably remarkable. His vocal range and his study of the piano were attributed to his unique talents and lead to his song -writing and the composition of his original inspirational music. �)i5 educational background includes his attendance at the Uabe 94 of Um in Ohio were he had the opportunity to be introduced to 00SWI 41mM55, fir. OWtir Ao55 Clad. She immediately took an interest in his prowess and encouraged him to perform spiritual music as a career. This along with his ability to stir Gospel Music Audiences lead to his pursuit of a recording career. He has made a sovereign career as an Empessario of Gospel Music. 0 five successful albums and several hit singles in his career, Douglas Miller is both a Grammy and a Stellar Award nominee. With several of his works leading the charts of both the Billboard and Cashbox charts. 97- 7t5 13 ® ®. 2bbina dimension to his career as a recording and performing Artist, he has had success as a thespian in two national touring company Theatrical Plays , "Go&s Trying to Tell You Something" and "Lord," Save My Children... From Destruction. With both plays his roles were as unforgettable as his voice over the airways of Gospel Music Stations all over the world Aft has toured extensively in the United States, Europe, The Caribbean Islands, and Africa to receptive and captive audiences. He has performed on stages in the company of other celebrated Gospel greats inclusive of Yolanda Adams, James Moore and Vikkie Winans. He has severally made appearances on the Bobby Jones ...Gospel Explosion weekly television program and continues to explore new horizons in his career with new outlets of expression for his incomparable style of Gospel Music. Olillrr'S music has even a broader appeal than the Gospel Music arena, Pop Artist M. C. Hammer recorded and performed his arrangement of Do Not Pass Me By at the American Music Awards in 1991. More recently, Miller's My Soul Is Anchored In the Lord is being Choreographed for a debut performance by the Artistic Director of Black Door Dance Ensemble, Miss Karen Stewart; a professional dance company. For that debut, Miller will sing the song live on stage as the dancers perform their new repertory piece. Miller is expected to do the 1998-99 seasonal tour with the dance company. Another dimension, and a new horizon for Douglas Miller. He is by all means a superlative Gospel Music talent with the capacity to grasp new audiences for his musical mastery. 14 BLACK DOOR DANCE E SEMBLEi INC. PLEASE NOTE: That this analysis may vary from City to City due to the estimated cost of the venues involved. This cost factor will show no drastic increase or decrease in the figures stated below. However, the diffreence may show the increase or decrease as only between $ 1,000.00 - $ 3,000.00 in most cases. Seasonal Cost Analysis NUMBER OF TOUR SHOWSMORKSHOPS/CLINICS (SIX FLORIDA CITIES) X 16 PERFORMANCES JACKSONVILLE / ORLANDO / TALLAHASSEE / GAINESVILLE / LAKE CITY / MIAMI COST OF TALENT $ 35,000.00 UNLIMITED PUBLIC RELATIONS APPEARENCES $ 7,000.00 TOTAL TAINT COST $ 42,000.00 ARTISTIC DIRECTOR CHOREOGRAPHER ROAD MANAGER STAGE MANAGER ASST. STAGE MANAGER ACCOUNTING PUBLIC RELATIONS PROMOTIONS FEE GROUP SALES SERVICE FEES STREET CAMPAIGN TOTAL THIS SECTION ESTIMATED VENUE COST SOUND LIGHTING STAGE HANDS EQUIPMENT RENTALS SECURITY (PRIVATE) LICENSES INSURANCE TECHNICAL SUPPORT TOTAL THIS SECTION (1700-2500 SEAT CAPS) TRANSPORTATION (BUS) AIRFARES GROUND TRANSPORTATION HOTEL & FOOD AOCOMODATIONS CATERING TOTAL THIS SECTION ELECTRONIC MEDIA ADVERTISING RADIO TELEVISION PRODUCTION & CREATIVITY TOTAL THIS SECTION PRINT MEDIA ADVERTISING NEWSPAPERS BILLBOARDS POSTERS FLYERS PRODUCTION & DESIGN TOTAL THIS SECTION TOTAL COST $ 10,000.00 $ 10,000.00 $ 4,500.00 $ 3,500.00 $ 3,500.00 $ 5,000.00 $ 10,000.00 $ 12,500.00 $ 1,000.00 VS. 100k $ 5,000.00 $ 65,000.00 x7 $ 12,000.00 VS. 12% $ 5,500.00 $ 5,500.00 $ 4,000.00 $ 2,000.00 $ 1,500.00 $ 500.00 $ 3,000.00 $ 5,000.00 $ 39,000.00 $ 4,500.00 $ 1,800.00 $ 600.00 $ 9,000.00 $ 1.800.00 $ 17,700.00 $ 20.000.00 $ 20.000.00 $ 8,000.00 $ 48,000.00 $ 5,000.00 $ 4,500.00 $ 6,000.00 $ 3,500.00 $ 3,000.00 $ 29,000,00 $ 2989700 .00 977t5 15 PAS' 2 SLACK DOOR DANCE ENSEMBLE FINANCIAL ANALYSIS SPECIAL GUEST DANCE CLINICIAN (EXC.LUSSVE TO THE BLACK DOOR DANCE ENSEMBLE) PLEASE NOTE: THAT SPECIAL GUEST ARTIST (SERITA ALLEN) WILL PERFORM (1) ONE (3) THREE DAY DANCE WORKSHOP WITH THE BLACK DOOR DANCE COMPANY (CLOSED SESSION) TENTATIVELY DATED FOR ( - ,1998) SERITA ALLEN (ALVIN AILEY DANCE COMPANY) MS. ALLEN WILL DURING HER STAY WILL MAKE PUBLIC RELATIONS APPEARENCES AND CONDUCT MEDIA INTERVIEWS DURING THIS PERIOD AS WILL OTHER GUEST ARTIST. TRAVEL EXPENSES (ROUND TRIP AIRFARE NY-MIAMI-NY) S 280.00 HOTEL ACCOMODATIONS (4) FOUR DAYS- (4) FOUR NIGHTS $ 336.00 CONTRACT COST: $ 1,500.00 TOTAL THIS SECTION: $ 2,1'19•00 SEASON GUESS ARTISTS) (SPECIAL FEATURE PERFORMERS) (MAIN ATTRACTION) SPECIAL GUEST ARTIST(S) DOUGLAS MILLER GOSPEL RECORDING ARTIST $ 60,000.00 CONTRACT COST X 12 SHOWS SERITA ALLEN (ALVIN AILEY DANCE COMPANY) as NATHAN TRICE ANDRE TYSON CONTRACT COST X 8 SHOWS TRAVEL EXPENSES (ROUNDTRIP AIRFARE HY-MIAM"M HOTEL ACCOMODATIONS TOTAL THIS SECTION: (ALTERNATE ATTRACTION) ARTIST TBA CONTRACT COST X 8 SHOWS TRAVEL EXPENSES (ROUNDTRIP AIRFARE NY-MIAMI-NYC HOTEL ACCOMODATIONS TOTAL THIS SECTION: (SECOND ALTERNATE ATTRACTION) ARTIST TBA CONTRACT COST X 16 SHOWS TRAVEL EXPENSES (ROUNDTRIP AIRFARE NY-MIAMI-NY) HOTEL ACCOMODATIONS TOTAL THIS SECTION: TOTAL SEASONAL COST: $ 16,000.00 $ 280.00 $ 672 O S 66.952.00 $ 16,000.00 $ 280.00 $ 672.00 S 76.952.00 $ 76,000.00 S 280.00 $ 672.00 $ 76,902.00 $ 367,768.00 �� 97- 715 ®- PAGE -3- BLACK DOOR DANCE ENSEMBLE FINANCIAL. ANALYSIS CONT. ESTIMATED REVENUES PROJECTIONS CORPORATE DONATIONS (PENDING) $ 7,500.00 FOUNDATIONAL SUPPORT (PENDING) $ 216,018.00 INDIVIDUAL SUPPORT (PENDING) $ 7,500.00 GOVERNMENTAL GRANTS (FEDERAL) (PENDING) $ -)- GOVERNMENTAL GRANTS (STATE) (PENDING) $ 2,500.00 GOVERNMENTAL GRANTS (LOCAL) (PENDING) $ 101,750.00 CASK ON HAND $ 1,500.00 COMPANY PROMOTIONS (TICKET SALES) (PENDING) $ 104,000.00 VALUED IN -KIND CONTRIBUTIONS (PENDING) $ 50,100.00 TOTAL CASH REVENUES TOTAL IN -KIND CONTRIBUTIONS TOTAL REVENUES ( INCLUDING IN -KIND) GRANT REQUEST TOTAL REVENUES $ 389,118.00 $ 50,100.00 $ 439,218.00 $ 320,268.00 S 1.198.704.00 PLEASE NOTE THAT: W400 CONTRIBUTIONS ARE EITHER DONATED GOODS AND SERVICES AND ARE WORTH REAL MONITORY VALUE EVEN THOUGH THEY ARE DEFINATELY NOT PRESENTED AS SUCH AT THE TIME OF CONTRIBUTION. 97- 715 17 In �v, �` I i _ �h�k�a,. �.,.. Y� vz�% µ� 7�•f, � ?.�\k �� ,'i � ! Vy1f x,��'T�.S. a 4 D. a �5� k �' '$ 9.s+' $' •�� 9��` ,•::'3'.cd PQ w Min .. �r � � '� `3Yi� ir�,x. >.a�ki3u�`��k� '� al �C'.t t� G�" Z�': `IY�� •t .r �� ih '�tE�„'�°�.a',3�N�. .�..zul.:��..'�F.�.�^t..'m, ��.. �,�_ .. ,,n o.:s ��:•A, i ..cif' .prf�R., �.. .: . .... "fU.,,��•,:"'£^ re�^`.',l+;s....... om �'': M,:\� �� 5✓ ' .� a ,,,`'< N,,(.. j�i.0 :q2 ✓ - y$b , i ' `� I`'i�y .J '3` i4 J,•.%8�'�1y, .� WW {�{ _ W'�h' '�^�b�� i� } :•}'.. +� xa'i b'3 T •�i" a ,J•�h 't1M ?Je '\ C�Y�-ki `��4 +.'3 R :Y^�'d o.."�',2 ,.� ��K #�� x '. "'}k �.....iiiii � � F 1� `�•�^�..�,i�'a' ' �""_�_ l � rt. i y"�S.R`fs SS t xY+i' 'xu ,' 'u,4 w a �hM d�"•s z Wi� 'ink ��\ "'�/ �� '� 'y`�`r��„`�ixa " •c3'--. ,r 3 ., y ,�\',,,"' ��'.• f � f 3' Wlk `.. ,rA �' ��h �y, "� .tom �`�F, .� .. .. .� �Y �5+� 3/• y'3'��,�y tom* '1..� ,��•'�� c k E u` � , k `a w"�.,r, MANAGEMENT A VI ��y Akk n 1990, at the height of its artistic powers, one of America's leading dance companies laid off its dancers and technical staff, closed the doors of its famous ballet school and canceled the a c,—E remainder of its performance season. The dance world and the African -American commu- nity were stunned when Arthur Mitchell, artistic director of the world-renowned Dance Theatre g�a r up of Hariem.(DTH), announced that the company he had founded in a, Harlem garage in 1968 was rc)r on the verge of bankruptcy. DTH was projecting a $1.7 million deficit for Err � ��' its 1989-90 fiscal year when major engagements c)f a I fit{ M E� in Europe and California were unexpectedly canceled. A weakened economy meant fewer spon- —funcJ raISI sors for engagements. Government and foundation grants were down and individual and corporate in a p®ems" contributions were not what they had been during the boom times of the '70s and '80s. Without cash —rE c4ce i® reserves (not unusual among arts organizations) and ->s' minus the expected revenue from ticket sales, the E<,-®C:) Y company could not meet its payroll. Bailed out of immediate danger by emergency grants from American Express Travel Related Ser- vices Co., the Lila Wallace -Readers Digest Fund, the Schubert Foundation and concerned citizens, DTH was on its toes again six months later. But, Back on its toes emergency grants were only a temporary solution to after a six-month its financial problems. The near demise of the dance furlough, €DTH and ` company that one critic called a "national treasure" Arthur Mitchell (L) sounded a warning for all performing arts compa- are headed for new nies throughout the country. heights. E3Y 8A R BA RA R'DSS g219 9'7 = '� � 5 Judith Jamison has Although the Alvin Ailey American Dance taken up the man- Theater has never had to cancel a season, it tle of the Ailey too faces fiscal problems. In 1988, the compa- company where its ny was left nearly homeless when the 10-year founder left off. lease expired on its Times Square studios, and the company could not pay the new rental fee. Scrambling to find affordable office and rehearsal space, the company signed a 15-year lease on two floors of a former warehouse in the Lincoln Center area on Manhattan's lnrestside. The move, though costing $500,000 in renovations and moving expenses, reduced Ailey's rent by 14%. In December 1989, soon after the move and just days before the opening of the company's annual month -long engagement at New York's City Center Theater, Alvin Ailey, the company's founder, artistic director and visionary, died. His death was a blow to the morale of a company that soave reviewers said was floundering artistically. But, his successor, Judith Jamison, a former Ailey dancer for whom the dance master choreographed some of his greatest works, took up the • mantle a year later. by becoming the artistic director. Although the fiscal responsibility for the Dance Theater Foundation —Alvin Ailey's parent organization —is in the hands of executive direc- tor, Michael Kaiser, the two share the power of day-to-day management of the company. Ja= mison has imposed her own standards of excel- lence while remaining true to what she calls "the vision, the genius of Alvin Alley." Her task will not be easy, however; the challenges facing Ailey, like those confronting DTH are enormous. Most arts and nonprofit organizations are not run like businesses. Both organizations have amassed over the past 10 years a deficit of more than $1 million. Govern- ment funding —formerly a large portion of both company's funds —has evaporated, leaving gaps in operating income. Even the New York State Council on the Arts (NYSCA), a major source of government funding for both organizations, has suffered a severe drop in income, from an all- time high of $54.9 million to its current $28.2 million for fiscal year 1991-92. At the same time, competition for private -sector contributions has increased. The rapid growth of both companies during the '70s and '80s increased their fiscal and physical needs for funds and space: For both organizations, survival depends upon fiscal sol- vency, a diversified base of support, creative fund-raising techniques, improved management systems and long-range strategic planning. Balancing The Balance Sheet ' "The decision to cancel the rest of the '89-90 season was a painful one for Arthur Mitchell," says Anthony Turney, former executive director of DTH. `'But he knew we had no choice. We agreed that the best course of action was to be completely honest about. our financial situation. In times of crisis, honesty works for corporations and political figures; it should work for arts organizations, too," says Turney. a "Our problems had nothing to do with misman- agement," Mitchell maintains. "This was a series of events we had no control over. Our board of directors decided it was more responsible to cancel the season than to finish the year with a huge deficit." Outside organizations, such as the Nationai.Arts Stabilization Fund (NASF)—a nonprofit educational and grant institution founded in 1983 to give technical assistance in the areas of financial management and long-range planning —agree. In fact, for most arts organizations the size of Ailey or DTH, the issue is not mismanagement, but not enough staff and management personnel to support the structure. In general, both companies are lean on staff, particularly in the finance, development and marketing department, the key areas responsible for fund-raising, securing engagements and ensuring the company's financial stability. For Mitchell, the hardest part of the, decision was telling his dancers about the 15-week layoff. "I consider them my family, and I felt like a father who couldn't support his children," he says. For dancers like Karen Brown, the cancellation was a shock. "If Mr. Mitchell hadn't told us himself, we wouldn't have believed it," '94 BLACK ENTERPRISE DECEMBER 1991 97_ 715 recalls Brown, a prin- cipal dancer who a joined DTH 17 years ago. "A company like z this touches so many = lives, nurtures so many souls —it was just inconceivable for us to fold." Press accounts of Equip DTH's near demise unleashed a wave of maint support. Private do- Travel nors contributed near- Prop ly $50,000, in amounts Co un as small as one dollar, Se ro to save the company. =a. Mi h A $1 million emerges- cy grant from the Lila H '. Wallace -Reader's Di- 3 A Su lus gest Fund provided immediate relief with a Sources: Alvin Ailey Dance Theater Founded the first $600,000 ear- marked for its immediate debts,_bank notes and other loan payments due at that time. Upon satisfying the terms of the first installment, the second installment of $400,000 was given for 1991 operating expenses including dancers' salaries. The American Express Travel Related Services Co. pledged an unrestricted grant of $1 million to be given in annual installments of $250,000 over four years, in addition to another $250,000 in marketing support and other services. Three other organizations, The Shubert Foundation ($200,000), the New York State Council on the Arts ($50,000) and Chase Manhattan Bank ($50,000), awarded "challenge grants," which required the company to raise a sum equal to the amount donated. The National Endowment for the Arts (NEA) awarded a challenge grant of $400,000 in which DTH is required to raise $1.6 million in matching funds by September 1992, of which $90,000 must be used to reduce its mortgage with the balance used for a building -expansion project the company is undertaking in 1992. The actual grant, however, must be used to elimintate DTH's deficit, which the company projects will be done by the end of the grant term. Likewise, Judith Jamison is also committed to strengthening the financial position of The Dance Theater Foundation —the name under which Ailey is funded. Together with Kaiser, she has launched a $1.5 million fund-raising campaign designed to make up for the deficits in government funding and erase some of the company's historic debt. The Ailey operating budget for 1990-91 was $6.6 million. That figure grew by 9% to $7.3 million for the 1991-92 fiscal year, which began in July. Earned income from ticket sales and tuition fees accounts for 71% of the total budget —a higher -than -average ratio for arts organizations., The reason? The Ailey principal dance company spends most of its time on the road; less than four weeks annually is spent in its New York City headquarters. It is also much less expensive for a modern dance company to tour than a neoclassical ballet company such as DTH. And, because of its international stature, Ailey faces less competition from other modern dance companies when securing engagements. "Our great strength," says Kaiser, "is that we tour as much as any dance company in the world. We tour Europe every year. And n .t year, we will spend four weeks at the Olympics in Spain." To stay within budget, Jamison has kept the company at 29 dancers, instead of the 35 she considers optimal. Dancers earn an Salaries/benefits College work study/ uition assistance to on a 4 COSTSTING average salary of $650 per week, plus bene- Alvin Ailey Oance fits for the length of Dance Theatre their contract. Theater of At DTH, the aver- $3,590,256 $4,055,338 age dancer's salary is 250,339 $587 per week, plus benefits. The compa- io/theater rental 602,724 208,470 ny employs 48 danc- supplies/ 160,315 326,350 ers. "A neoclassical ice dance company can't be any smaller than 1,094,103 482,768 that, so we have to xes/insurance 37,796. 75,107 find other ways to itions/publicity 486,860 268,206 tighten the budget," ;tion 401,321 263,475 says Peter Hansen, Gus 120,293 85,447 DTH's director of mar- EINSES 36,493,668 $6,015,5W keting and develop- MAE. ` 36,646,M $6,015,500 ment. Donations of $.153,314, $ 0 printing, advertising and other in -kind ser- nd Dance Theatre of He Now York, N.Y., 1991. vices have helped the company to keep its annual operating budget at $6 million for the third consecutive year. But dancers' salaries are not the only expenses. There are salaries and benefits for the other 100 plus staffers; payroll taxes and disability insurance to pay; office and studio rental fees; mortgages and property taxes; utility and telephone bills; travel and per diem expenses connected with performances; and production costs. All are costs that any business would encounter, in spite of each company's 501(c)(3) status as a nonprofit organization. Forging New Partnerships Both DTH and Ailey have embarked on strategic planning process- es designed to balance artistic and financial goals. Their common objectives include reducing debt, building endowments, strengthen- ing its boards of directors, and above all, attracting new sources of funding through partnership with corporate donors. To achieve these goals, both Ailey and DTH have asked for help from NASF to put improved management and budgetary procedures into place. Two of 15 arts organizations in New York City to be nominated for financial and technical assistance, both company's structures —from financial management to long-range artistic and management structure —are being examined before NASF will commit any funds. It is, however, in the initial stages of evaluating each company's business procedures and meeting with their respective boards of trustees and staffs. NASF will make a report of its findings later, which will serve as the framework for developing a strategic plan for each organization. A key to each company's strategic plan is diversifying its funding sources, and both have identified corporations as a major target. A case in point is the relationship between DTH and American Express. "We worked together to develop a program that supports DTH's values while providing visibility for American Express," says Edwin M. Cooperman, chairman and co -CEO of the company's travel subsidiary. Together, he and Mitchell have made fund-raising calls at other corporations. American Express has also advertised DTH perfor- mances through its "Gold Card Events" program, provided free tickets to needy students and exercised its clout with vendors, some of whom have donated services to DTH. The 1991 advance ticket sales brochure, for example, was donated by a printer, saving DTH about $15,000. Besides good will, American Express gains visibility with BLACK ENTERPRJq7C�ECEN7F1!!;1 7CECENTiB F1!!;1 21 J middle-class black audiences —an important market for its services. A major corporate benefactor for Ailey and DTH is the Philip Morris Cos., which has funded both companies for over a decade. Recently Philip Morris underwrote the cost of a direct -mail advertising campaign for Ailey, providing $40,000 for the New York mailing alone. In return, Philip Morris employees were offered a free year's membership in the newly formed Friends of Alvin Ailey, which offers such benefits as priority seating and invitations to rehearsals. Philip Morris' support for DTH includes funding community outreach programs and new ballets. "Most black and Hispanic arts organizations have had a much harder time raising funds than white organizations," says Ailey's Kaiser. DTH receives only 20% of its annual income from government sources, making it somewhat less vulnerable to cuts in government spending than Ailey, which receives 34%. (See chart "Sources Of Funding.") But both companies continue to depend on government - sponsored funding sources, such as the National Endowment for the Arts (NEA) and NYSCA. The New York State Council on the Arts has approved $152,350 in grants to Dance Theater Foundation for the 1991-92 fiscal year. The money is earmarked for commissions, program support and general operating expenses. For the same period, DTH received $132,000 for all of its programs, $70,000 of which was earmarked for general operations support. Both grants were down from last year-4174,900 for Ailey and $121,600 for DTH. Brenda Brown, a spokeswoman for the council, said additional funding could result from the $6 million restored to the council's own budget by the state legislature, but had not as of press time. Outside the dance capital of New York City, performances by Ailey and DTH are often "presented" or sponsored by nonprofit organiza- tions. These groups bring the dance companies into an area for a fee and agree to assume part of the cost of staging the production. Both Ailey and DTH generally book their own hotel, transportation and shipping, and cover their meal expenses on a domestic tour. But because of the high cost of international travel, these costs are usually incurred. by the sponsor and prorated to the number of performances that will be given in a particular location. In a tough economy, such groups are understandably cautious about sponsoring performances where ticket sales may not cover expenses. Ticket sales are an important source of revenue for any performing arts organization. But for most Americans, less discretion- ary income means fewer nights out. However, DTH's annual gala raised $300,000 for the company. Rather than curtail their seasons, both Ailey and DTH have started community outreach programs to augment their performance schedules. Education: The Soul Of Dance Companies "Dance companies, like corporations, must learn to package their services to meet specific market needs," Kaiser says. An example is the "mini -company" Ailey has established in Baltimore with a $125,000 grant from the Maryland Council on the Arts. The grant will help stabilize the company's finances, while supporting performances in Baltimore and Columbia (a suburb of Washington, D.C.), master classes, and a day camp for "'at risk" children. "Inner-city kids sometimes feel that their body is the only asset they own," says Kaiser. "Our six -week program helps them to develop that asset through modern dance." Ailey day camps also offer a Wide range of non -dance activities, from sports to creative writing. A prototype camp operates in Kansas City, Mo., where Ailey has long had a presence. A second camp, co -sponsored by the Children's Aid Society, serves New York City. Community outreach programs are at the heart of Arthur Mitchell's mission. 'Too often, we in the black community focus on solving our children's problems, rather than preventing them by sponsoring organizations like Dance Theatre of Harlem;' Mitchell says. "We look at the. humanities as an 'extra,' rather than "a way to give young people the discipline and self- esteem to face crises later in life" Mitchell, the first black dancer to star with a major American ballet company (The New York City Ballet, where he was a protege of the noted m choreographer George Ballanchine), has al- ways been aware of the obstacles black danc- ers face. He founded DTH in Harlem where he grew up, partly to create opportunities for black dancers, but also to introduce young people to the joy and rigorous discipline of neoclassical dance. Some of his students have pursued dancing careers; many others have become attorneys, doctors and business executives. DTH's outreach programs range from dance classes for preschool- ers.to evening sessions for adults. All are taught at the converted garage on West 152nd Street, which has been DTH's home since 1968. Now, that home is literally bursting at the seams. Professional dancers and students share the same locker rooms; studios double as academic classrooms with students sitting on the floor. Over 23 years, the company has grown from two dancers and 30.children to 50 principal and corps dancers and over 700 students. . "Fortunately, Arthur Mitchell had the foresight to purchase an adjoining lot and additional property in the neighborhood for back taxes," Hansen says. Later this year, the company plans to break ground to build an annex —the first 'step 'in an ambitious capital expansion program. Of the $4.8 million required, $3.6 million has already been committed to the project —including $3 million from the City of New York (untouched, so far, by the city's fiscal crisis). Another $600,000 will come from the Robert Wood Johnson Charitable Trust and the Gimbel Foundation. 210 BLACK ENTERPRISE DECEMBER 1991 97= 715 i The world-renowned DTH school is, according to Hansen, "the wellspring of the company." Students from 14 countries are currently enrolled and 80% receive some kind of financial aid. Ailey is similarly proud of its school, the American Dance Center, which teaches a variety of dance styles to 2,000 students from 68 countries. Approxi- mately 50 students enrolled in the full-time professional program are on full scholarship; many others at all levels receive at least some financial aid. Recognizing its importance to the company's future, Kaiser plans to spotlight the school in future fund-raising efforts. Developing. New Audiences And Managers While their schools nurture a future generation of dancers, both companies are also concerned with developing" future audiences. Through its repertory company, Ailey brings the excitement of modem dance to small cities throughout the United States -particularly those with significant African -American populations. "We target a substan- tial portion of our advertising budget to black audiences," says Laura Beaumont, the company's marketing director. "Wealso try to get free placements on radio stations and television news programs that serve the black community." DTH attracts largely black audiences to its annual performances in Washington, D.C., and the San Francisco Bay area. Future programs will target Hispanic audiences in southern California and Texas. Donna Walker Collins, the company's director of audience develop- ment, works with organizations that already have deep roots in the black community —churches, colleges, art galleries, single -parent groups to attract audiences that can't be reached through tradition- al marketing and advertising. Relationships with national black organizations, such as the Links Inc. and Jack and Jill of America, also help promote awareness of DTH. The Washington, D.C., chapter of Jack and Jill recently THE SHOW MUST GO ON The structural organization of a dance company is not unlike that of any company or corporation. It takes a host of people to deliver the product or service. Although the formal management between Alvin Ailey Dance Theater and the Dance Theatre of Harlem (DTH) differs slightly, the basic structure is the same. Three core manage- ment areas are the artistic, administrative and a board of directors. The artistic component is responsible for producing the performance. It is headed by the artistic director. At Ailey, this job belongs to Judith Jamison; Arthur Mitchell is artistic director at DTH. At both Ailey and DTH, the artistic director is not only respon- sible for the,performing aspects, but shares administrative responsibilities with the ex- ecutive director. The executive director oversees the ad- ministrative departments. At Ailey, the ex- ecutive director is Michael Kaiser, Robert Taylor is the new executive director at DTH. The administrative or personnel depart- ments are responsible for the day-to-day running of the facility. Other duties include booking engagements, coordinating travel arrangements, and drafting and keeping track of contracts and leases. At DTH, the director of administration, is Amy Wynn; at Ailey, director of personnel Kathleen Rose oversees these functions. The marketing and development depart- ment devises and executes fund-raising, marketing and merchandising strategies for the company. The production department is responsible for costumes, sets and scenery, lighting and stage management, music, production logis- tics and tour operations. The director of the school instructs students, trains profession- al dancers, manages the faculty and accom- panists, and determines the curriculum. These two departments come under the joint supervision of the artistic and execu- tive directors. The highest power in either company is the' board of directors, a group that sets policy and appoints the executive directors and operating officers. At both DTH and Ailey, the boards of directors handle the broad policy -making and financial well- being of their companies. The board of directors at DTH comprises 17 members, while Alvin Ailey has 28. --Marjorie Whigham sponsored an after -school reception at Macy's, where area young- sters could meet the dancers and win tickets to DTH performances at the Kennedy Center. The event raised $2,300 for DTH the company. "Supporting the arts is as important as anything else we do, particularly when the organization that needs our help is one of our own;" says Dr. Lilia Abron, president of the Washington chapter and of PEER Consultants, P.C., her own environmental engineering firm. She is currently meeting with Kennedy Center officials to plan a larger Jack and Jill -sponsored event for next year. Another goal for both companies is developing and recruiting more black managers. At DTH, 50% of the management and administrative staff is black; at Ailey.the figure is 40%. Executive directors of both companies have. traditionally been white men. The new executive director of DTH, Robert Taylor, is black. "The dance world hasn't been aggressive enough in recruiting black MBAs or arts managers," admits Collins, a lawyer and former dancer, who is one of the few black women in top management at DTH or either company. 'We need to present dance management as a viable career that lets you use your business skills while giving something back to the community. The salaries may not match Wall Street, but the personal fulfillment is enormous." Kaiser, who is white, believes African -American dance companies should establish intemships to attract talented black managers at higher -than -entry levels. 'There's no reason why I should be black. But there's no reason why I shouldn't be, either;' he says. Managers at both organizations understand that meeting long-term goals increasingly demands reconciliation between the business and artistic. At DTH, a Senior Dance Committee composed of 20 dancers is learning what it takes to run a dance company by talking to experts in fund-raising' marketing and other disciplines. As Alvin Ailey's protege, Judith Jamison says she developed a keen appreciation for what it takes to manage a dance company. "For years I listened as Alvin struggled with prospective donors on one telephone line and bill collectors on the other;' she says. Today she insists that her dancers expose themselves to fiscal and fund-raising issues by attending board meetings and busi- ness lunches. With her encouragement, Kai- ser has even traded his wingtips for ballet shoes, taking classes with the dancers and traveling with the company's road crew. "I'm not a business person, but 1 do have my grandmother's common sense," Jamison says. 'Whatever it takes to make this com- pany grow and thrive, I'm going to do it. I have no qualms about going to any organiza- tion and saying, This is what it's going to cost you, but this is what you're going to get. And it will absolutely change your life. Because that's what art is about.' " Fund-raising also comes easily for Arthur Mitchell. "When you love something as much as I love Dance Theatre, it's hard not to sell all the time," he says. But he admits that his company probably would not be able to survive another crisis like the one that brought it to the brink of disaster two seasons ago. "What we're going through is like the aftermath of a car crash," he says. "We need a lot of nurturing by all of our communities." ❑ IN 4 23 BLACK ENTERP"16-EMAIA951 TORo(ro STAR WISTRATION/PATR)CR CCRR:GAN By Robert Crew, TORONTO STAR HE SEPT 8 STATEMENT from the National Ballet of Cana- da said it all. - Announcing the joyful news that the National Ballet had made a $127,000 surplus in 1992-93, its president, James PUblado, was quoted as saying: "Our success can be, in part, measured by the fact that for the second year in a row we have managed to avoid a deficit" Avoiding a dejuat has become the holy grain for Canada's arts organi- zations in the current economic climate. Major artistic recognition, such as the Canadian Opera Company's award -winning visit to the Edinburgh Festival with the Robert Lepage double-10 of Bartok's Bluebeard's Castle and Schoenberg's Envarttmg is pleasant Just plain surviving is better still. But who will survive, and how? As their seasons get under way, The Star recently looked at Canada's top four, publicly supported, performing arts organizations -- the Stratford Festival, the National Ballet, the Toronto Symphony, and the Canadian Opera Company — plus the Shaw Festival, which ranks sixth. (the Mon- treal Symphony is fifth.) All acknowledge that they are under siege and that the economic climate remains tough. As Gary Thomas, Stratford's general manager puts it, "We will have to omM= to work very hard here for the foreseeable future." Some of the groups have come back from the brink of disaster, ve managed to retreads and are achieving modest surphumes. The National Ballet, for example, has been in the black for two consecutive seasons. And the Toronto Symphony, stag_-er- ing under a massive $138 million deficit at the end of the 1992 season, has turned things around in dramatic fashion. Although final figures have yet to be released, Max Tap- ` per, the Symphony's managing director, is expecting a "modest surphz" for 1993. But the Canadian Opera Company, which will announce its results next month, had a deficit for 1992-93, even after adjusting its budget downwards to $13,198,000 and reducing the number of productions from eight to sir. "We had very good news on our ticket sales last year and spent a million dollars less than the original budget that was approved but we did have a deficit We are now budgeting for no accumulated deficit by the end of 1995-96," says general director Brian 13ickie. The two theatre des (whose 1993 seasons continue for another three months) are also expecting deficits. At Stratford, almost the entire 1993 season (which includes two musi- cals) was chosen to woo audiences and that part of the strategy has worked; Thomas has announcedd boat office receipts reached $15,100,000 at the end of August, surpassing those for the whole of 1992. The downside is that costs have risen and Thomas expects to end the year in the red. But he is pleased with the results of Stratford's $20 student tickets and the 2-for-1 Tuesdays promotion. "Obviously people are looking for a deal and they are jumping at what we are offering. We've been attracting a lot of young people to the theatre and have got some momentum going into 1994." At Shaw, attendance from Toronto this summer has dropped a stag- gering 20 per cent. General manager Elaine Calder believes uncertainty due to the social contract talks was a key factor. "It had an enormous impact on what is the heart of our audience — the well-educated, working, middle-class," she says. A detailed look at the figures reveal some interesting data. The two theatre companies, for example, attract far smaller government aid, in part Please see FESTIVALS/page JLO 97- 715 - `•.C7L 'QT ��^.',::ci�"oC ''9::P.:°. J;`IC r.`.�=^1 7�1 :i T r 3a :he or- nd My ire bt- =n- ice ta, es- id- ed .ie. ZY fe- ci- he SO ,c- dy he fn. in TER Festi Continued from page Jl because they operate in a small community and get little or nothing in municipal grants. Stratford and Shaw also get far less proportionally (about 3.7 per cent of budget) from Cana- da Council, which has many more theatres to support and slices the funding "pie" far thin- ner than for the Ballet (about 14 per cent of budget) the Opera (11 per cent) and Symphony (9 per cent). The two theatres also fall be- 0 hind in fund-raising, which ac- counts for 15 per cent of the Stratford budget and 14 per cent at Shaw. The figures for the other three are 23 per cent Ballet), 25 per cent (Opera) and 22 per cent (Symphony). The accompanying charts (with assessments by Robert crew) summarize the financial situation of Ontario's largest arts organizations. Figures were supplied by the Council For Business And The Arts In Cana- da. Stratford Festival . Total budget: $24,711,000 Total government gratttc $2,477,000 (or 10 per cent) Surplusiddelt (1992): - $224,721 Accumulated deffdt,(1992): $766,651 "The encouraging news is that we have stopped the decline in attendance and will set box office records. But the shows (including two musicals) cost us a lot more to produce this year and we are looking at a deficit that will M* be more serious than last year's.' — General manager Gary Thomas Assessment: Like Shaw, Stratford needs to earn about 75 per cent of its income at the box office, hence the popular approach adopted this season. Some fine individual productions (notably King John) but over-all, lagging behind Shaw artistically. Momentum from this season, a lively new artistic director and a couple of big stars (Denzil Washington as Othello? or so we hear) should spell success in 1994. Toronto Symphony Total budget: $15,664,313 Total government grants: $4,200,333 (27 per cent) Surplus4iddt (1991-92): - $1,384,431 Accumulated deficit (1992): $3,345,904 "I believe that in the next few months we will be able to announce a major turnaround. We have stabilized the situation, there have been no further losses and there will be a modest surplus, thanks to the sacrifice of everyone concerned, with the musicians leading the way.' — Managing director Max Tapper Assessment: Toronto Symphony is a good, solid orchestra that needs someone to push them toward world class. Good outreach — they prevent a variety of concerts tar most tastes. Toronto likes them, and wants ttem. But North York Performing Arts Centre, which is wooing top performers with big bucks, could present a problem. 3 You Could e--..rs Younger pie National Ballet of Canada Total budget: $15,063,568 Total goveratnentoutc $5,192,346 (34 per cent) Surplusddefidt (1992.93): + $127,000 Accumulated deficit: $1,498,000 "Our 1992-93 season was a very successful one, both artistically and financially. We approach each season with a more cautious awareness of financial constraint, yet we must roves back away from the challenge of breaking new ground' --Nash director• Reid Anderson Assessment: Some exciting new work from John Cranko, James Kudego and others but repertoire seems a lr'tge tired at times. Huge donations of $1.6 million will spruce up Romeo And JWW and help elsewhere- Good kiends, two seasons in the blade. Full steam ahead. Shaw Festival Total budget $11,933,735 Total government grants: $1,318,660 (11 per cent) Surplustieficit (1992): + $833,759 AccnmtalaN deficit $558,557 "We are attempting to steer to break even. This year, we started out ahead but unlike last year, there was no huge boom once the show opened. It didn't cft fire that way. — General manager Oaine Calder Assessment: Shaw Festival has taken its work to a higher level in the past two or three years. In 1992, this translated into a box office bonanza; this year it hasn't Niagara -on -the -lake itself Is too expensive — no cheap hotels, few cheap meals — its generally more expensive than Stratford. The recession, plus increased theatre activity in Toronto, is hurting them. Canadian Opera Company Total budget (adjusted): $13,198,000 Total goverment grants: $4,746,325 (35 per cent) Surpluslefidt (1991.92): - $733,849 Accumulated defidt (1992): $588,308 I think we have enormously improved standards over the last four years, with consistently high levels of music and production. No other opera company in North America could have achieved what we did at the Edinburgh Festival., — General director Brian Diclde. Assessment: When the CCC is good (the Lepage double -bill) they are very, very good. But soinetimes (Hansel And Gretel), they are very ordinary. Ticket prices are too high, productions at times over -lavish. Much rests on the sexy shoulders of Cannery, which opens this season with an extended run. Rwnces are shaky. Stay tuned. State Ballet of Missouri Finishes 1992 Fiscal Year "in The Blaofc ec.>,8 die i," . BnUMP)MBftewinm de-Km sta Ba0a d Mis ouri 6 "led is 199192 � of seas o idle blsc3c - Inam_ $innoe 1988slateCab. bm a er So ftw ended the 1992 fis* .; Yew i* a $10,200 aPaangCobcovelpmud- � Ofdie cOIPWY'a $2,157sM includes *To* owned Wcam ; wbicbtka Mveaue and �S P� I fees -and 4 �ulbuted tvv- gift rations, and grants , and fob. State Baud I in!Acd 51.081550 in gifts and gents in 1992 92, Cden said. 26 97- 715 BLACK DOOR DANCE ENSEIME, INC. PROJECTED OPERATING E NSES 1998 - 1999 ADMINISTRATION Director of Administration] 42,000 Administrative Assistant (F/T);. 23,000 Front Office Administrative Asst.(F/T)j 19,760 j. Bookkeeper (P/T)1 10,400 Accountant Fees 2,400 Volunteer Coordinator j volunteer Postage 500 j Medical Insurance 32,400 Payroll Services 4,800 Payroll Taxes & Disability 31,013 Office Supplies 5,000 Misc. Expenses 5,000 TOTAL 176,273 OPERATIONS Studio/Office Space Rent 60,000 Maintenance/Repair 20,000 Insurance: Liability & Life- 25,000 Tel 41000 Electric 4,000 Cleaning Service/Supplies 51000 Misc. Expenses 51000 TOTAL 123,000 DEVELOPMENT Director of Development 40,000 Brochure/Materials 5,000 Postage 5,000 Misc. Expenses 2,000 TOTAL 52,000 MARKETING/ P.R. & BOX OFFICE Marketing & P.R. Director 40,000 Box Office Manager 20,000 Group Sales Manager (salary+ comm) 18,000 Box office staff 4 @ P/T 33,280 Advertising 30,000 Season Brochure 51000 Flyers/Posters 2,000 Press Kits/Releases 3,000 27 Video/Photography 7,500 Ticket Supply: 2,500 Postage' 5,000 Clipping Service! 1,500 Misc. Expenses; 3,000 TOTAL 167,780 ARTISTIC Artistic Director/Choreographer' 48,000 Dancers/6 ($605/48 weeks=$29,040)1 174,240 Apprentices(P/T)/2 ($302/48 weeks = 14,496) 2.8,992 Ballet Mistress 40,000 j Payroll Taxes & Disabilityl 39,088 Travel/Touring .(air/hotel/ground/per diem)' 50,000 , Music Supply/Copywrite Fees 5,000 Costumer, 28,000 f P/T.Seamstress 6,500 Misc. Expenses 5,000 TOTAL 419,820 TECHNICAL/PRODUCTION Production Manager 45,000 Technical Labor 10,000 Theater Rental & Related Services 20,000 Warehouse Rental 1,200 Set Materials 20,000 Set Designer 61000 Costumes/Supplies 25,000 Costumes & Props/Maintenance 1,200 Misc. Expenses 5,000 TOTAL 133,400 TOTAL GROSS OPERATING EXPENSES 1,072,273 i General Reserve for Contingencies(5%) 53,614 TOTAL NET OPERATING EXPENSES 1,125,886 28 PROJECTED OPERATING IAL50ME Ticket Sales(15%)*' 168,883 Corporate Donations(30%) 337,766 Inidividual Donations (10%)i 112,589 Foundations(5%)i 56,294 Government Grants - Federal(10%)i 112,589 Government Grants - State(10%)s 112,589 Government Grants - Local(10%)j 112,589 Contracted Services(5%) 56,294 Advertising(2%) 22,518 , In -Kind Donations(3*)I' 33,777 i TOTAL PROJECTED INCOME 1,125,886 TOTAL PROJECTED EXPENSES 1,125,886 *Note: Percentages are of total projected expenses BLACK DOOR DANCE ENSEMBLE, INC. ESTIMATED ONE-TIME SET-UP COSTS s Equipment: Office Supplies/Furniture 12,500 Phone System 3,000 Laundry 800 Costume Dept. 2,000 Lighting .20,000 Fitness 30,000 Kitchen 900 Furniture 5,000 Banquet tables & chairs 1,000 Video/Sounds 7,000 Sub -Total 82,200 In -Kind Donations(36.7*) (30,200) Total Equipment 52,000 Refurbishments: Sound Proofing] 2,000 1 Flooring/Materials) 8,000 Walls/Mirrors/Paint 2,500 Shelving/Racks/Barres 2,000 Carpentry/Materialsi 5,000 Plumbing/Fixturesi 5,000 Electric/Materials: 5,000 Contractor/Architect± 5,000 34,500 Sub -Total In -Kind Doiiations (36.7 (12,700) Total Refurbishments 21,800 1 Total Equipment- 52,000 Total Set-up Costs ; I 73,800 Total First 3 months operating exp 281,472 I Total Set-up Costs 73,800 4,728 Contingency rrnTAT, FTRST 3 MONTHS EXPENSES 360,000 1 97- "715 30 BLACK DOOR DANCE ENSEWE, INC. PROJECTED OPERATING BUDGET 1999 - 2000 ADMINISTRATION TOTAL Director of Administration', 45,360 Administrative Assistant (F/T): 24,840 Front Office Administrative Asst.(F/T)j 21,341 Bookkeeper (F/T)l 21,632 Controller; 40,000 •; Volunteer Coordinator (P/T) 10,500 Postage 1,000 Medical Insurance 55,200 Payroll Services 5,000 Payroll Taxes & Disability 36,134 Office Supplies 5,100 Misc. Expenses 5,100 271,207 OPERATIONS Studio/Office Space Rent 64,800 Maintenance/Repair 21,600 Insurance 25,500 Telephone 4,080 Electric 4,080 Cleaning Service/Supplies 5,100 Misc. Expenses 5,100 130,260 DEVELOPMENT Director of Development 43,200 Guild Manager(P/T)i 11,500 Brochure/Materials 51100 Postage 5,100 Misc. Expenses 2,040 Administrative Asst. 23,000 89,940 MARKETING/ P.R. & BOX OFFICE Marketing & P.R. Director 43,200 Box Office Manager (salary + comm) 21,600 Group Sales Manager (salary+ comm) 19,440 Administrative Assistant 22,000 Box Office Staff: 4 @ P/T 35,942 Advertising) 30,000 Season Brochure! 10,000 Flyers/Posters) 3,000 31 97� 715 Press Kits/Releases: -4,000 Video/Photography:. 12,000 Ticket Supply: 6,000 Postage: 51100 Clipping Service; 11500 Misc. Expenses; 4,000 217,782 ARTISTIC Artistic Director/Choreographer[ 51,840 Dancers/8(48 weeks)l 232,320 Apprentices(P/T)/2 (48 weeks) 31,311 Guest Choreographer/2 ($2,000 per), 4,000 Payroll Taxes & Disability 45,808 Travel/Touring (air/hotel/grnd/per diem) 50,000 Music Supply/Copywrite Fees 6,667 j Costumer) 30,240 j P/T Seamstress 7,020 Misc. Expenses 6,000 Company Manager (hired 2nd fiscal yr.) 25,000 Ballet Mistress 43,500 533,706 TECHNICAL/PRODUCTION Production Manager 48,600 Technical Labor 10',800 Theater Rental & Related Services 25,000 Warehouse Rental 1,400 Set Materials 21,600 Set Designer 6,480 Costumes/Supplies 27,000 Costumes & Props/Maintenance 1,200 Misc. Expenses 6,000 148,080 TOTAL GROSS OPERATING EXPENSES 1,390,975 32 97- 715 General Reserve for Contingeiicies(5%) 69,549 TOTAL NET OPERATING EXPENSES 1,460,524 PROJECTED OPERATING INCOME Ticket Sales(15%)! 219,079 j Corporate Donations(30W)j 438,157 Inidividual Donations (10%)l 146,052 Foundations(5$)I 73,026 Government Grants - Federal(10ul 146,052 Government Grants - State(10$)j 146,052 Government Grants - Local(10%)l 146,052 Contracted Services(5I)I 73,026 i Advertising(2,%-) I 29,210 In -Kind Donations(3%) 43,816 i TOTAL PROJECTED INCOME 1,460,524 TOTAL PROJECTED EXPENSES 1,460,524 I i 31 9'�= 5 BLACK DOOR DANCE ENSA&LE, INC. PROJECTED OPERATING ET 2000 - 2001 ADMINISTRATION TOTAL Director of Administration, 50,000 Administrative Assistant (F/T)i 27,324 Front Office Administrative Asst.(F/T)j 23,475 Bookkeeper (F/T)' 23,795 Controllerl 44,000 Volunteer Coordinator (F/T) 22.,464 j Postage 2,000' Medical Insurance 78,000 Payroll Services 6,000 -Payroll Taxes & Disability, 42,311 Office Supplies ; 5,500 Misc. Expenses 5,500 330,369 I OPERATIONS Studio/Off ice Space Renti 60,000 Maintenance/Repair 23,328 Insurance 15,000 Telephone 51000 Electric 51000 Cleaning Service/Supplies 5,300 Misc. Expenses 51500 119,128 DEVELOPMENT Director of Development 47,520 Guild Manager(F/T) 23,000 Development Manager 27,000 Brocure/Materials/Postage 1.1,000 Misc. Expenses 2,500 Administrative Asst. 25,300 136,320 MARKETING/ P.R. & BOX OFFICE Marketing & P.R. Director 47,520 Box Office Manager (salary + comm) 23,760 Group Sales Manager (salary+ comet) 21,384 Administrative Assistant 24,200 Box Office Staff: 4 @ P/T 39,537 Advertisingl 30,000 Season Brochurej 15,000 Flyers/Posters 5,000 34 9 '7 - 715 Press Kits/Releases 5,400 Video/Photography :L7,000 Ticket Supply: 7,000 Postage 3,000 Clipping Service; 1,650 Misc. Expenses, 5,000 245,451 ARTISTIC I Artistic Director/Choreographer; 57,024 Dancers/8(48 weeks); 255,552 Apprentices(P/T)/2 (48 weeks)I 34,442 Guest Choreographer/2 1 4,400 Payroll Taxes & Disability 50,389 Travel/Touring (air/hotel/grnd/per diem)l 55,000 Music Supply/Copywrite Fees 8,889 Costum6rl 33,264 P/T Seamstressi 7,722 Misc. Expensesi 7,200 Company Managerl 27,500 Ballet Mistress 47,000 588,382 TECHNICAL/PRODUCTION Production Manager 52,488 Technical Labor 12,000 Theater Rental & Related Services 36,000 Warehouse Rental 1,500 Set Materials 23,328 Set Designer 7,000 Costumes/Supplies 29,160 Costumes & Props/Maintenance 1,500 Misc. Expenses 7,200 170,176 97_ '"-15 35 TOTAL GROSS OPERATIN4 W PENSES 1,589826 General Reserve for Contingencies(5%) 79,491 TOTAL NET OPERATING.EXPENSES 1,669,317 PROJECTED OPERATING INCOME Ticket Sales(15$)j 250,398 Corporate Donations(30*)( 500,795 Inidividual Donations (10%)1 166,932 Foundations(5%) 83,466 Government Grants - Federal(10%) 166,932 1 Government Grants - State(10W) 166,932 Government Grants - Local(10W) 166,932 Contracted Services(5%) 83,466 Advertising(2%) 33,386 In -Kind Donations(3%). 50,080 TOTAL PROJECTED INCOME 1,669,317 , TOTAL PROJECTED EXPENSES 1,669,317 j ' i. 36 97- 715 w'Kt:br-N f1hD TU: CITY OF MI/ MENTION: COMMISSION1 ADDRESS: 3500 PAN AMERI MIAML FLIORIDg Wl UWAKU UF 4A It THELMA R-A 111MIL-M Katen SW04allt, 74jtistic `611zectorz Black Door Dance Ensemble, Inc. P.O. Box 1641542 Miami, Florida 33 Telephone & Fax: October 10t, 1997 Thelma B. Anderson -Gibson, Commissioner City of Miami 3500 Pan American Drive Miami, Florida 33133 Dear Commissioner Gibson, Black Door Dance Ensemble, Ins. marked their sixth anniversary in August 1997. Black Door continues to attract the most talented dancers in Miami, showcase a multitude of choreographic styles, and increase their visibility in the community through out -reach and intervention dance programs. Some of our highly publicized performances were the 1996 Summer Soccer Olympics at the Orange Bowl, African -American Women on Tour Convention at the Crowne Plaza, Miami Centennial Celebration at Bayside Park, Tribute to Katherine Dunham at Fairchild Gardens and our annual Kwanzaa and Black History Month concerts. Black Door is in immediate need of a building to continue the growth of the company and open numerous full and part-time employment opportunities to degree and non -degree applicants as well 38 97- 715 PAGE-2- LETTER TO COMMISSIONER GIBSON as full-time positions for the dancers. The proposed building site in the former New Bethlehem Baptist Church, 422 N.W. 40th Street (City of Miami). Many professional inner-city minority companies throughout the United State have been deeded buildings in lieu of jobs, out -reach programs for at -risk children, community growth and prosperity, etc.. Enclosed are the breakdown of the square footage, occupational list and letter of commitment from DEEDCO. Please consider Black Door for building support to keep this company and its college graduates employed. For further information, feel free to contact me at (305) 385-8960.. Sincerely, Karen Stewart Artistic Director 97- 715 39 OCCUPATIONAL LISTING DIRECTOR OF ADMINISTRATION 35,000 - 42,000.00 ADMINISTRATIVE ASSISTANT 22,000 - 23,000.00 FRONT OFFICE ADMIN. ASSISTANT 15,000 - 19,900.00 BOOKKEEPER (P/T) 8,400 - 10,400.60 DIRECTOR OF DEVELOPMENT 33,000 - 40,000.00 DIRECTOR OF MARKETING/P.R DIRECTOR 33,000 - 40,000.00 BOX OFFICE MANAGER 18,000 - 20,000.00 GROUP SALES MANAGER (SALARY+COMMISSION) 16,000 - 18,000.00 BOX OFFICE STAFF (4 PA' EMPLOYEES) 30,500 - 33,500.00 VIDEOGRAPHER (P/T) 3,500 - 4,500.00 PHOTOGRAPHER 3,900 - 4,900.00 ARTISTIC DIRECTOR/CHOREOGRAPHER 48,000 - 54,000.00 DANCERS/10 (48 WEEKS) 27,100 - 29,040.06 APPRENTICES (PIT) 12,500 - 14,500.00 BALLET MISTRESS 37,000 - 40,000.00 COSTUME DESIGNER 26,000 - 28,000.00 SEAMSTRESS (4 PIT) 5,000 - 6,500.00 PRODUCTION MANAGER 41,000 - 45,000.00 SET DESIGNER 4,900 - 6,000.00 CONTROLLER 40,000 - 44,000.00 GUILD MANAGER 19,000 - 23,000.00 TECHNICAL LABOR (2 Pn) 4,900 - 6,000.00 LIGHT & SOUND COMPUTER PROGRAMMING 30,000 - 40,000.00 TRUCK LOADER $12.00 PER HOUR PROP PERSON $10.00 PER HOUR PRODUCTION ASSISTANT $10.00 PER HOUR STAGEHAND $17.00 PER HOUR LIGHT & SOUND TECHNICIAN $17.00 PER HOUR LIGHT & SOUND BOARD OPERATOR $17.00 PER HOUR WARDROBE, WIG & MAKE-UP TECHNICIAN $17.00 PER HOUR SCENERY TECHNICIAN $ 8.50 PER HOUR RECEPTIONIST $ 9.00 PER HOUR CUSTODIAN (PIT) $10.00 PER HOUR CASHIER (PIT) $10.50 PER HOUR PHYSICAL THERAPIST $30.00 PER HOUR DADE EMPLOYMENT 8 ECONOMI� VELOP.MENT CORPORATION INC. DEEDCCP -STEPPING SOLOOMNTO TOMORROW OFFICERS .LIE M. WILLIAMS _nwrp-nwn LGAZA Vcr, o4h Black Door Dance Ensemble, Inc. SUSAN WINN Miss Karen Stewart, Artistic Director t"""'"' P.O. Box 16-4542 REV. WII.FREDMdCENZ1E Saeratary Miami, Florida 33116 HERBERT H. GREEN. M.D. PfesxW t Enwdtut CAESAR PHIWPS Par6amantanan UMBERS Dear Miss Stewart, PATRICIA ALLEN DOROTHY BAKER 1SABELDEL-PINO On behalf of the Dade Employment & Economic Development ANGELO DIAZ B. INGRAM Corporation, Inc. (DEEDCO) we would like to take this opportunity to ROSERT SEANJONES congratulate and commend you on your very fine work with your company. ROSLYN SPARKS We have watched your company grow and excel in their endeavors and REV. JAMES WISE positively represent Miami's African -American Community at conventions, ERNICE S. Bxem&mDirwofER concerts, luncheons and other events throughout Dade County. We wish ExawNve Dinetor to extend our sincerest support for your continued development in the arts. As chairperson of DEEDCO it is a pleasure to extend our services to Black Door Dance Ensemble in its .quest to secure a permanent building site. DEEDCO is supportive of your programming to house the performing arts and education center which we feel would be vital to our inner-city youth as well as the community; by offering jobs, training and discipline to persons desirous of positions with a professional dance company in the performing arts and management sectors. We intend to facilitate you to the fullest extent of our service to bring this endeavor to fruition by rehabilitating your proposed building site. On behalf of DEEDCO, Community Action Agency and the Black Arts Coalition of South Florida, we wish you continued success and promise for the future and know that our services are available to you and your company. Sincerely, Lillie M. Williams Chairperson Bayside Officer Center -141 N.E. Third Ave. - Suite 500 - Miami, FL 33132 41 Telephone (305) 577-8080 -, Fax (305) 577-8088 9 7_ 715 DANCE SCHOOL PROGRAM AND COST ESTIMATE 24 July 1997 prepared by Shelley Meloni, R.A. The estimate is based on the following programmatic requirements: Space Square footage Dance Studio #1 2100 Dance Studio #2 1000 Lobby/ Waiting area 120 Cashier/ Registration Counter 60 Private Office w/bathroom ISO Costume Storage Room 300 Dance Therapy Room 200 Whirlpool Room 150 Massage Room 120 Retail Room 120 Computer Room (Educational Center) 120 Historical Museum 2200 Restroom (Boys) , 200 Showers (Boys) 120 Restroom (Girls) 200 Showers (Girls) 120 SUBTOTAL 7280 Circulation 10% 720 TOTAL AREA $000 97- 115 Estimate based on the Means Square Foot Costs - 1997 Edition 42 poit 1 Items $1 S.F. 1.0: Foundation 4.50 2.0: Substructure 3.50 3.0. Superstructure 4.25 4.0. Exterior Closure 13.25 5.0: Roofing 3.50 6.0: Interior Construction 15.00 7.0. Mechanical 15.00 8.0: Electrical 7.00 SUBTOTAL 66.00 General condition O + P - 20% 13.26 Architectural & Engineering Fees 8% 5.28 TOTAL $/ SF 85.00 TOTAL COST of Building $680,000.00 Note that the above estimate does not include a cost for site, civil and utility works. 9f1w ''15 43 BLACK SOOR DANCE ENSE LE, INC49 Gi-l-gl� PERFORMANCE SEASON BRIEF HISTORICAL OVERVIEMIG Established. October 29th, 1991 as.a S01(C) (3) Florida Corporation and Miami's premier multi-ethnic/mufti-cultural dance company for the cultural enrichment of South Florida and the rendering of favorable Imaging of it's diverse community. Accents of neo-classical ballet, avant-garde, African -Caribbean, modern, gospel, blues, and traditional African dances influence the stylistic performances of original and contemporary choreographed works while It engages the guest artistry of famed Dancers and Recording Artists to enhance their already beautifully staged shows. F ISSION: Our primary mission Is to provide an outlet for community youth interested in the dance arts and other varied aspects of the entertainment industry as it pertains to dance. production. To provide education, training, discipline, and a prospectus for the future. Our overall mission is to become a widely recognized touring dance company and an independent corporate .entity. THE ARTISTIC DIRECTOR: Karen Stewart, Founder and Artistic Director of the Company, brings her talents and expertise from a diverse background in dance and administration. She holds a Master of Fine Arts degree in dance and . is currently (Professor of Dance at Miami -Dade Community College's North Campus, director of the colleges Repertory Dance Theatre, and an adjunct professor of dance at the University of MiamPs School of Music dance department. She is a consultant for the New World School of the Arts dance program, ballet mistress at Miami Northwestern Sr. High SchooPs P.A.V.A.C. dance program and choreographer of numerous tours of Warner Brothers and Sony recording artists. ABOUT THE COMPANY: Bringing together talented dancers from minority backgrounds descendant of Jamaican, Haitian, Cuban, Trinidad, Native -American and African4tmerican heritages, Black Door Dance Is comprised of nine dedicated professionals and two apprentices. THE BOARD OF DIRECTORS: The Board of Directors Is comprised of eight persons who represent the diverse Miami community as well as diverse professionalism with a dedicated sense of narratives for the enhancement of the arts through dance. The Board meets monthly to discuss the programming, seasonal series, finances, and enhancements of Black Door Dance Ensemble as a Corporate entity operating In Metropolitan Dade County, Florida. PROGRAMMING: Black Door Dance has developed an outreach program to service at4isk youth In Dade and Broward Counties.. This program will expand its programming in other cities where the company will tour in the future. The program is a toot to culturally enrich economically under served communities. This introduces cultural dance arts as a form of entertainment for new audiences. It allows a diversion from negative behavior to those communities that lead to drugs, alcohol, delinquency and school dropouts. SPECIAL, GUEST ARTIST: Black Door is in the practice of engaging Special Guest Artists in the performance and choreography of their Seasonal series to enhance the quality of their shows. The 1998-99 Season will feature the talents of award winning Gospel Empessario, Douglas Miller (see picture and Blo contained). Guest Choreographers scheduled for the 1998-99 Season will feature the artistic talents of Nathan Trice, Andre Tyson and Sarita Allen of the famed Alvin Ailey Dance Theater based in NYC. NOTE T HAT . a more detailed outline of the forgoing is available upon request as is a videography of the dance company. 44 19 -VIC; A ,444 Cop 11111171100:1 INK ENSEMBLE