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Creativity, in its many forms, is at the heart of the Genesis Foundation’s programmes and projects, all devoted to nurturing the careers of exceptionally talented artists from a diversity of backgrounds.    Through their participation in Genesis programmes creative professionals gain access to training, mentoring, networks and practical experience that will stand them in good stead throughout their working lives. Whether working within an organisation or independently as freelancers and entrepreneurs, they will find themselves more agile and resilient, readier to seize opportunities and tackle challenges, and better placed to derive maximum benefit from their talents. More than that, they will enhance their contribution to society and to the fund of cultural memory.    Each of the Genesis Foundation’s partnerships holds a distinctive place and serves a specific purpose in the cultural ecosystem. On the Almeida Theatre’s schedule for 2025 is a production of 1536, a prizewinning play by Ava Pickett, an alumna of the Genesis Almeida New Playwrights, Big Plays programme. Through the Genesis Theatre Design pilot programme, a cohort of black and global majority students are learning from some of the leading scenographers in the world. The winner of the biennial Genesis Foundation Prize for an outstanding mentor, Nancy Medina, has invested her prize money in a new programme to develop British writing for the stage at Bristol Old Vic, where she is Artistic Director. Genesis Sixteen welcomed its 14th cohort of young ensemble singers, while alumni of the programme continue to make their mark in the musical world – among them tenor Matthew McKinney, winner of the 2024 Kathleen Ferrier Awards, who in January goes to New York to participate in Carnegie Hall’s Song Studio programme. Over at the Royal Academy of Arts, the two Genesis Future Curators are now halfway through their two-year contracts.     Everyone has talents. They might not always be as shiningly evident as the talents of the people who participate in the Genesis Foundation’s programmes, but that makes them no less valid. In 2024 the Genesis team continued to develop its talents for cultivating partnerships and for convening experts from different fields and disciplines to generate debate and activate ideas.      Inevitably, the implementation of those strategies will not be immediate, but in the meantime each one of us can continue to play our role in encouraging and nurturing creativity in our society: by participating in culture, by buying tickets, books, music, subscriptions and memberships, and through giving – certainly by making donations of treasure (in other words, money), but also by devoting time and our particular talents to nurturing the creative endeavours that mean the most to us.     As we enter the new year 2025, I wish you happiness and good health and let us all pray for peace on earth and good will towards all. 

Performing arts organizations have many stakeholders to appease. Besides leadership, staff, and their Board of Directors, the shows these organizations put on must appeal to audience regulars while also bringing in fresh faces. So, how can arts organizations strike a balance? In an interview with Wallace, arts researcher Francie Ostrower discusses her report on building audience sustainability. https://bit.ly/3YfwN8E

"The true power of the arts is the ability to make the invisible visible. It's an immensely powerful thing." Award-winning actor and author Paterson Joseph mentioned this during yesterday's The City Club of Cleveland "Diversifying the Media Production Industry" panel discussion. Paradoxically, we're in an era where the greatest access to information and knowledge is being coupled with a movement attempting to sensor -- and in some cases outright erase -- history and said access. Yesterday's discussion was a powerful display of why the arts continue to be a direct line to culture and history and why they are more vital today than ever before. The importance of elevating and participating in the arts is not only a guaranteed way to experience diverse cultures and backgrounds, but also the quickest and purest way to leverage and celebrate our differences. For example, being in the crowd of an Indigenous performance by Kenneth Shirley (panelist - Indigenous Enterprise, LLC) will circumvent barriers that reading a book may offer and instead directly allow you to experience the culture. There's nothing (and no one) in between you and experiencing Indigenous culture. This was the lightbulb moment for me yesterday while listening to these panelists (Patterson, Kenneth, and Gabriela Muñoz). Yes, the threats against our diverse history and knowledge are real, but the arts afford everyone an avenue to have first-hand diverse experiences devoid of barriers. If you're in the crowd, nothing is coming between you and your cultural experience. BorderLight Theatre Festival's 2024 Festival is live in Cleveland now through July 27. Their mission: to present innovative theatre that inspires, builds cross-cultural understanding, and celebrates the diversity of the human experience. If you're in the Cleveland area, now is the time to participate and celebrate our differences and the human experience. Check out their website for a complete schedule and for more information: https://lnkd.in/gX-jpuVB (Great to meet you, Rachel Costanzo! Keep up the great work!) #Culture #Diversity #Arts #Cleveland

This article brings me back to my master’s research dissertation, where I delved into leadership and management styles within dance companies. Like described here as “unicorns,” who blend artistic passion with business savvy, in my research, I explored the critical duality between artistic directors and executive directors within dance organizations, using the metaphor of “The Elephant vs. The Dolphin.” A concept that captured one of the biggest leadership challenges: the contrasting responsibilities and imperatives each role holds. Artistic directors (the elephants) are focused on creative success, while executive directors (the dolphins) are tasked with ensuring financial viability and business strategy. This duality often creates a tension between modern business practices and creative thinking, communication, and shared vision. I argued that having two leaders, no matter how well-aligned, naturally leads to conflicts because of the inherent differences in their goals. This interdependence of roles represents a convergence of professional spheres, yet both roles are behaviorally and socially distinct, much like elephants and dolphins. Participants in my study consistently highlighted the importance of mutual understanding and trust between them, recognizing that organizational success depends on it. However, the underlying ambivalence and dualism in their relationship remain the most significant realities of this leadership dynamic. Hence another reason why executive leadership in dance is so difficult.

#Blacknewsscom Atlantic City Theater To Be Transformed Into Cultural Arts Center For Jazz And Black History: The theater will be revitalized into a cultural arts center that will touch on Atlantic City’s jazz presence and racial discrimination at its beaches.http://dlvr.it/TH3sCz The post Atlantic City Theater To Be Transformed Into Cultural Arts Center For Jazz And Black History first appeared on Blacknewss.com Media Solutions in African American Culture. http://dlvr.it/TH3wnN

On this Arts Engines episode, Aaron Dworkin interviews Jérémy Jolley, Senior Director of Education & Community Engagement at the Seattle Symphony, about how their approach to access is transforming relationships with the community. Space is sacred. Conversations around capitalism often highlight how third spaces—places between home and work where ideas flourish, connections deepen, and creativity thrives—are disappearing. For musicians and other arts professionals, these spaces are vital to their growth but frequently inaccessible due to financial barriers. So, how do we share art with the world if we lack the space to do so? The Seattle Symphony has embraced this challenge through its Community Stage Fund, launched during the pandemic. This program opens the doors of Benaroya Hall to local artists and organizations, granting access to spaces and equipment at little to no cost. This initiative reflects a growing trend: arts organizations reimagining their role as civic institutions. A symphony’s impact can go beyond performances to nurture relationships, foster trust, and empower communities. By sharing space generously, the Seattle Symphony has built connections that spark creativity and offer new pathways for engagement—whether it’s inspiring attendance at a concerto or cultivating lasting partnerships. As Jérémy Jolley noted, community engagement is sensitive work that requires listening. Yet, it’s through this intentional approach that the arts can honor the whole human experience. #Arts #Culture #Music #Seattle #CommunityEngagement #Education #Partnerships #GivingBack #Access #ResourceSharing #ArtsEngines

Today is International Day of Disabled People. This year’s focus is disabled leadership, and we’re reflecting on the future of theatre— led by disabled young people. At Oily Cart’s 40th birthday celebration, young artist Coery shared his vision for Sensory Theatre’s next 40 years. Here’s what he said: "It’s important to include people with different ways of thinking—everyone has something to offer. It means our experiences and opinions are valued and listened to. In 40 years from now, Sensory Theatre might not even be seen as a different or special way of making theatre, but maybe just the way that makes the most sense, so everyone can come." Coery’s vision resonates deeply. Disabled young people are not just audiences or participants—they’re collaborators, critics, and the leaders who will shape the industry’s future. As we look ahead, we want to see more opportunities for artists like Coery to take up leadership roles, redefine what theatre can be, and create a world where access and inclusion are the norm, not the exception. #IDDP2024 #IDPWD2024 #DisabledLeadership #SensoryTheatre

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