Announcing the 2020 Martha Richards Visionary Leadership Award Recipients!

StateraArts is thrilled to share with you this year’s recipients of the Martha Richards Visionary Leadership Award. The award is given annually to a visionary woman or non-binary leader who uplifts, amplifies, and advances marginalized artists. The list of nominees this year was wonderfully robust and we are eager to celebrate both of these incredible leaders with you. Read more about them and their powerful work below!

Congratulations to Tiffany LaTrice and Sarah Jane Hardy!

Photo by Osmond Curtis

Photo by Sierra King

Tiffany LaTrice is a visual artist, executive director and founder of TILA Studios. TILA Studios is tackling one of the most glaring statistics in the art industry: Black women artists make up only 4% of art professionals across the United States. Tiffany LaTrice has been featured in the New York Times, Huffington Post, Forbes, and NPR. for her work and impact in the art industry and empowering black women artists. In 2018, Tiffany LaTrice received the Artist Entrepreneur of the Year Award by C4 Atlanta and was a finalist for the Center for Civic Innovation #GoodTrouble Award. TILA Studios is the recipient of the 2018 Best of Atlanta Award for Atlanta Magazine and the Atlanta Tribune.

LaTrice has worked with the City of Atlanta’s Office of Planning to build a community engagement tool for the community of Cascade. Her exhibition history includes Cultural Arts Council in Douglasville, Mason Fine Art, Equity Gallery, La Maison D’Art, and the African American Museum in Chattanooga, TN. Her artwork has appeared on the Food Network and in publications such as Zora Magazine and Sarah Lawrence’s annual poetry collection, Dark Phrases.

She is a 2019 Civic Innovation Resident, 2018 Civic Innovation Fellow. She received her undergraduate degree in International Relations and Fine Art from the University of Southern California and her Masters in Women’s History at Sarah Lawrence College.

“Tiffany is a trained artist who came up against all the walls that blocked her from blossoming as she deserved-- and instead of simply focusing on herself and her work, she has made it her mission to break down these walls for ALL Black Women Artists.”

— Elizabeth Duvivier, Nominator

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Photo by David Kinder

Photo by David Kinder

Photo by David Kinder

Sarah Jane Hardy is a producer, director and facilitator of new work development based in Portland, Oregon. Originally from Liverpool, England she is currently the Artistic Director of Northwest Children's Theater where she produces a five show mainstage season.

A tireless advocate for excellence in art for children, Sarah Jane has created over 20 new works working in collaboration with artists from around the country. Her work is bold, imaginative and relevant.

“Sarah Jane’s stance is clear: People’s stories are best told by people themselves. Theater, in all its forms, and especially for children, only works when every voice is included. We may see parts of ourselves reflected in some stories, but what happens when there are no stories about you? No stories that speak to your experiences, challenges and triumphs? There are no voices more in need of amplification in the traditionally cis-male dominated world of the arts than all who identify as women, and women from every background. Sarah Jane is committed to presenting stories where girls expect full autonomy, to be in charge of their own choices, lives and destinies. When they aren’t, those characters fight the paradigm and win.”

— Melody Bridges, Nominator

Celebrate with Us!

We invite you to join us for a virtual celebration Monday, November 23rd, 5pm PST/8pm EST honoring our 2020 Martha Richards Visionary Leadership Award Recipients, TiffanyLaTrice and Sarah Jane Hardy!

Head over to the StateraArts Facebook page for wonderful performances and tributes from Sarah Jane and Tiffany’s communities, and an opportunity for you to ask them questions during a roundtable discussion. See you there!

Accountability Report: Emergent Strategy

In August of 2020, we shared what is Ours To Do, and announced an intentional pause to pause in response to the effects of COVID-19 on our organization and industry. 

We launched this pause with a learning journey, and opened up about some of our process after our first 30 days. You will find the happenings of our recent 30 days at the end of this blog post. But first, we add some of the insights we are gathering from team study and discussion of Emergent Strategy, by adrienne maree brown.

She defines Emergent Strategy as “how we intentionally change in ways that grow our capacity to embody the just and liberated worlds we long for.” She uses science fiction (and the work of author Octavia Butler in particular) as a framework for imagining a world better than our own. By dissecting and breaking down the ways that our small, steady, and individual actions build into something far beyond us, she illustrates how nature exists as a perfect example of equitable organizing. To say that we are inspired and fortified by this work is an understatement! Livable Futures shared their learnings from studying this book together in a blog post here, and we wanted to follow suit with a few pull quotes from our own discussion sessions.

Here are some thoughts that have been shared by our team:

“I’m really moved the story of her parents coming together. She reveres them so. I love the idea of them having to see something impossible as not only a possible way forward, but as THE way forward.”

“Using the starling bird as an example, she teaches us that any part of the flock who is guided by simple rules can transform the movement of the whole flock. That idea of collective leadership, partnership, and adaptability is powerful.”

“I am so empowered by the way adrienne maree brown pairs this imagining of what feels science fiction and is not yet real with knowing that any of our biggest questions have already been answered by nature. When the imagining starts to feel too big and impossible, when we are trying to fabricate a toolkit that already exists in nature, we can turn to those tools and feel less helpless. It’s something pure to return to. There is no corruption in nature. It’s a perfect operating system.”

“I love how much she spoke of grief, and as someone who feels in deep relationship with grief, I’ve never had someone express it both so poetically and constructively. She makes this beautiful and useful list of things to consider when grieving, my favorites beings ‘the broken heart can cover more territory’ and ‘love can only be as big as grief demands.’”

“She talks about ‘moving at the speed of trust’, and I think Statera has always moved at the speed of the need. Because of that we have broken down trust because we are making decisions out of haste and urgency that are not about the people in front of us. We get caught up in an overarching pressure of productivity and output... all these things that move us further and further away from bone-deep relationship building work.”

“She uses the imagery of water a lot, and with water there is always a danger of it being misused or channeled without caution or balance. It can halt the way things are meant or want to flow. That keeps washing over me, no pun intended! Moving too quickly, without ease, and without completion feels like a common danger in the nonprofit world.”

“Chaos theory, the idea that a butterfly flaps its wings and causes a tsunami on the other side of the world, feels really relevant here. Every little thing that we do has an effect somewhere else. We never know how big or catastrophic our actions are on someone else’s life or even how positively impactful they are. A lot of us have finally had time to sit still and be reflective about that because of our current times. There is always an impact of our actions which must be looked at, regardless of how good our intentions may have been.” 

“We don’t grow and change if we aren’t stressed with challenges. We would stagnate if we didn’t have things in front of us that make us feel vulnerable and naked. She says life is a matter of miracles, and I like the idea of looking at challenges as part of the beauty of life.”

“adrienne maree brownsays ‘We are realizing we have to become the systems we need-- no government, political party, or corporation is going to care for us, so we have to remember how to care for each other.’ To me, that's the definition of non-profit, it's an answer to the problems that our government isn’t focused on.” 

“There is an importance to leaders being adaptive. Once you create these structures and then you recognize things could be better you HAVE to be adaptive. But you have to have the relationships already built wherein everyone feels comfortable adapting together.”

“I don’t think hierarchy exists only to give power to a select few. It seems to also exist so each person in the organization only has to truly trust the person above them. Perhaps it’s a way to limit the amount of time that must be taken to build trust. I want to move at the speed of trust like adrienne continually advises. I want to know how a group builds trust and interdependence to move like a bird migration, which she so beautifully calls to again and again in this book.” 

“We have a human problem we have to address before we can deconstruct systems. There’s a photo of a poster in the book that reads: ‘Building community is to the collective as spiritual practice is to the individual.’ We have to acknowledge where we stand in the community and where we have been placed by society in order to do effective work. Using our privilege to leverage help for someone else may be what non-profits were initially intended to do. We can do it better.” 

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Accountability check-in

60 days (September): Expanded Listening, Learning, and Identification
Statera expands the listening tour to community-based leaders and stakeholders; 
Statera expands opportunities for learning as a team.

• Completed the Regional Coordinator Listening tour to gain key insights from chapter leaders of Statera Mentorship (thank you, RCs!)

• Implemented twice monthly team meetings to improve team communications and opportunities for collective dreaming forward 

• Continued organizational audit and implementing Director area autonomy

• Established and began the first Statera book club with members of the team, ambassadors, and Board

• Integrated learning between the areas of Org Health and EDI, focusing on the topic of  collective liberation

90 days (October): Identification, Strategy & Planning
Identify EDI training resources for Statera community leaders; 
identify a compensated Mentorship Task Force

• Identify compensated, Advisory Task Force for 2021

• Continue Team study on collective liberation through Emergent Strategy book club and discussion sessions

• Create plan for flattening out the organization to what is essential

• Hold Team Visioning Series

Are you reading Emergent Strategy or engaging in similar work? We’d love to hear what you’re garnering during this time as well. Share with us at [email protected].

Ours to Do: Accountability Report (The First 30 Days)

Artwork by Sarah Greenman.

“What if accountability wasn’t scary? It will never be easy or comfortable, but what if it wasn’t scary? What if our own accountability wasn’t something we ran from, but something we ran towards and desired, appreciated, held as sacred? What if we cherished opportunities to take accountability as precious opportunities to practice liberation? To practice love? To practice the kinds of people, elders-to-be, and souls we want to be? To practice that which we can only practice in real time? After all, we can only practice courage when we are afraid. We can only practice taking accountability when we have wronged or harmed or hurt. Practice yields the sharpest analysis.”

- Mia Mingus, “Dreaming Accountability”

ACCOUNTABILITY REPORT (The First 30 Days)

In August of 2020, we shared what is Ours To Do, and announced an intentional pause to disrupt the urgency cycle of our programs, examine and dismantle hierarchical structures, and offer space for some much-needed learning and implementation as individuals and as an organization. We are now 30 days in, and are opening up about how we arrived at this work, what we are doing, and where we are going in what we hope will be a continued journey of transparency and community accountability for years to come. 

At the start of 2020 Statera initiated an internal Pathways Listening Tour to identify access needs and necessary structural changes for our team. Among some of the celebration points we heard were the positive thrust and focus of our work together, the multiple points of rich community, opportunities to support each other through our programs, and the commitment to learning and inquiry around our own practices. Among some of the expressed pain points throughout the team were exhaustion, too little compensation, and too many hours, which prompted us to cancel our 2020 Conference to make space to address these issues. As the effects of COVID-19 and the rising social justice movement became clearer, we continued to hold precious space for our team members, where the lack of team intersectionality, amplification vs. tokenization, and an overall yearning for balance were ongoing and pressing topics of examination.  

Many of those issues were emphasized again in a formal call-to-action from Minita Gandhi, former Co-director of Mentorship, to “do better.” We are grateful to Minita for sharing her expressed experience, which also brought to light important points of inquiry around our reliance on volunteerism, clear and reasonable scope of work, and a call for accountability; all of which are in full alignment with Statera’s current work and how we plan to emerge from our intentional pause in the program and production cycles. We are committed.

We identified three main working spaces for this 90-day period: 

• Mentorship 

• EDI (Equity, Diversity, and Inclusion) Training and Practices

• Organizational Structure & Communications

Statera initiates thoughtful pause; individual and small group EDI training and learning;
research for team EDI training; internal listening tour continues

Mentorship:

• Completion of the 2020 cycle, August 31st

  • Individual mentor/mentee and Regional Coordinator (RC) conversations

  • RC Listening Tour scheduled (4 sessions, first week of September)

• Continued Pathways Tour with Statera Team & Ambassadors (our internal practice of mentorship)

EDI Training & Practices 

This work is two-fold. It is work that we are doing together as an organization, as well as on an individual level. Below is a non-exhaustive list of who we have been learning from thus far (June, July & August). We are including links to their powerful work, because we would love for you to have a chance to engage with them as well! 

As an organization we are learning from:

• Statera’s Virtual Member Meet-Up: Anti-racist Resources for Theatremakers, Leah Harris

• Journey Theatre Project - Courageous Conversations 

• Amplified or Tokenized:  Candid Guide to Creating Inclusive Campaigns w/Meaning & Impact, Gia Goodrich

• UDEMY Courses

  • Diversity, Equity, and Inclusion, Ulysses Smith

  • How to Lead Through Diversity & Inclusion, Illumio Learning

  • Diversity & Inclusion, Sai Acuity Institute of Learning

  • Equality, Diversity & Inclusion Essentials, Skills Boosters for a Better Workplace

• ELEVATE Conference - Swaim Strategies

As individuals we are learning from:

• Dismantling White Feminism, Layla F. Saad

• The Listening. White Allies: Choose to do Better

• Secrets to Responding to Racism, Chakita Sharnise

• White Urgency is Violence lecture series by EbonyJanice Moore

• Scaffolding Change and RED Strategic Planning Facilitation with Kelvin Dinkins Jr.

• 7-Day Anti-racism Challenge w/ Chakita Sharnise

• Allied Media Conference

• Anti-Racism Daily newsletter by Nicole Cardoza

Organizational Structure & Communications

• All team members began logging hours 

• Instituting hallway moments for the team (optional Winedown Wednesday or Tea & Talk, etc.)

• Collective Learning

  • Flock learning channel established for resource sharing

  • Book club established to begin in September

• Transparency

  • Communications sharing (group ideating & internal sharing before all public releases)

  • Scheduling Team retreat for September

• Continued interrogation and challenging of hierarchical structure by inviting full team participation in key decision points.

Statera expands the listening tour to community-based leaders and
stakeholders; Statera begins team and Board EDI training and learning

Mentorship

• RC Listening Tour (first week of September)

EDI

• Book Club Begins with Statera Team, Board, & Ambassadors - we are collectively reading EMERGENT STRATEGY, by adrienne maree brown

• Identify full Team and Board EDI Training

ORG Structure & Communications

• Implement Director autonomy 

• Interrogate pay & power structures

• Implement twice-monthly team ideating & accountability meetings

There will be much more detail to come as we navigate the next 30 days. Deepest gratitude to Statera Ambassadors for your continued commitment to Statera's mission. Thank you to Statera Mentorship Regional Coordinators for your insights and wisdom as community leaders. Thank you to the Statera Team past and present for your trust and patience as we do the hard and necessary work to bring Statera’s practices and operations into full alignment with Statera’s mission to create pathways that bring women into full and equal participation in the arts. 

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Your Questions

Thank you to everyone from inside the organization as well as outside who are asking questions, offering insight, and ideating with us during this time of powerful culture shift. We do not have all the answers, nor will we pretend that we do. We are a small and heart-centered organization that is committed to the work at hand. The questions below have arisen in one-on-one conversations with the Statera community, and we will continue to include this series in future accountability posts. We welcome them.

Q: What is your current pay structure for team members?

A: We were founded as an all-volunteer organization. In January of 2019, we began offering stipends for the first time to our Directors and Executive Team. Our three executive team members are currently receiving part-time stipends and our Program Director stipends doubled at the beginning of 2020. We are only 18 months into our first attempt at paying ourselves. Our Regional Coordinators for Mentorship, Ambassadors, and mentors and mentees in the current program are all volunteers. Also beginning in 2019, we committed to covering previously prohibitive Conference costs of travel, accommodations, and food for all internal team members. 

Q: Your organization is founded by white women. What are your plans to transition leadership to include women of color?

A: Our goal is that the work and future of StateraArts be led by leadership representing the many intersections of the Statera community. Since we are not financially sound and our pay structure does not fully support a full time Executive Director salary, we have no way to equitably transition to BIWOC (Black, Indiginous, Womxn of Color) leadership. We would never want to hamstring incoming leadership with the same set of challenges and no ability to support their sustainability in the position. We are working towards that goal with our past and current grant cycle and are currently restructuring the entire leadership and team model to make this a reality.

Separately, groundwork was laid over the past year for Sarah Greenman (Creative Director from 2015-2018 and Operations Director from 2019-2020) to step away from her position this summer. News of Sarah’s departure was included in our August newsletter. Sabrina Cofield (Statera Ambassador from 2017-2019) was hired last year to serve in an executive capacity as Development Director.

Want to join Statera as an accountability partner in this journey? Feel free to share resources, EDI training options, or feedback at: [email protected].

You can also follow the #StateraAccountability hashtag on Facebook, Instagram, and Twitter.

“What if accountability wasn’t scary? Take a breath and let that sink in for a second.”

-Mia Mingus

Ours To Do

Dear Statera Community,

We have work to do. Period. And we are honored to learn and pivot in community with you. As we enter our final month of the 2020 class of Statera Mentorship we continue to amplify voices from the Statera community and beyond, offer resources and avenues for connection, and advocate for holistic creative environments where people -- indeed more women, can show up whole. Additionally, the Statera team is riveted to practicing this work within, beginning with continued, generative dialogue and deep listening to honor the experiences and needs of our internal and community-based Statera team.

In the midst of the unanticipated and collective halt of our entire sector due to COVID-19, we are intentionally making space for immediate, individual and collective deep learning and change. Important work continues to ensure that Statera emerges in wholeness and equity at all levels of operation. 

As such, we have initiated the following plan of action:  

30 days: Listening and Learning
Statera initiates thoughtful pause; individual EDI training and learning; research for team EDI training; internal listening tour continues 

60 days: Expanded Listening, Learning, and Identification
Statera expands the listening tour to community-based leaders and stakeholders; Statera begins team and Board EDI training and learning

90 days: Identification, Strategy & Planning
Identify EDI training resources for Statera community leaders; engage a compensated Community Task Force

These are just some of the points of our highest curiosity and interest: 

• Unearth and address individual and team biases

• Learn and take direct action to make Statera an anti-racist environment

• Prepare all Statera team, Board, and volunteers with Equity, Diversity, and Inclusion training

• Interrogate Statera’s reliance on non-profit volunteerism 

• Identify ways to enact clear boundaries and scope of work, given and received by passionate and creative volunteers 

• Proceed in right-relationship with one another and with the Statera community at large 

We are committed to being an organization where equity and support exist at the core of our own operations, toward a future of true balance in the arts sector at large. 

In Statera, (balance) 

Melinda Pfundstein
Co-founding Executive Director

Sabrina Cofield
Development Director

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The above message was originally shared in our August newsletter.

Arts Activism: The Journey Theatre Project

Statera continues to witness our community making thoughtful pivots in the face of a global pandemic and social injustice, using their tools to better the world around them. The intersection where art meets activism is directly mission-aligned for Statera. Both as an organization and a community, we are constantly seeking new ways to amplify marginalized voices and work for equity inside and outside of the arts industry.

We are excited to share a few events from The Journey Theatre Project with you, which begin this weekend! They are hosting a series of conversations surrounding racism in America, as well as a thrilling 28 Hour play reading series. Check it out!

Race and You: Courageous Conversations Public Session

“It's never too late or early to begin the conversation.

Join us for a three part workshop on racism in America. Using creative and reflective activities we take you on a journey to examine yourself, your community and systemic racism. We will also offer tools for how to learn, talk and create actionable solutions to dismantle white supremacy.”

This workshop is ticketed, but you can pay what you wish. Suggested price is $25.00/session.

Proceeds go to furthering anti-bias work for all.

July 25th @ 10AM EST ~ Implicit Bias

July 30 @ 6PM EST ~ Systemic Racism

August 5th @ 6PM EST ~ Courageous Conversations

Click here to RSVP.

Every 28 Hours Play Reading Workshop

“Every 28 Hour Plays was conceived by Claudia Alick in the wake of Michael Brown's murder and a 2012 study which found that in America, every 28 hours a black person is killed by a vigilante, security gaurd or police officer. 

The 28 Hour Plays workshop is a series of short plays written by playwrights from across the country in response to this study. They are meant to be read by a group of people to spark dialogue and shifts in perspective. The Journey Theatre Project will facilitate the readings and conversation, we hope you will join as Actor Participants or Audience Participants.”

Aug 2nd @ 6:00 PM EST

Learn more about participating in or attending this event here.

About The Journey Theatre Project

The Journey Theatre Project (JTP) works with non-profits, corporate entities, educational, religious and community organizations to create a brave space for courageous conversations. They challenge traditional power structures, and disrupt unconscious bias through the use of theatre, dialogue, game, and data. They build theatre with communities around social and local issues. JTP is dedicated to fighting against white supremacy and the violence it has always and continues to have on black and brown bodies. They believe reflection, dialogue, and action are all needed to create transformation.

Esther Triggs-Camacho, CO-FOUNDER

Chelsea Hanawalt, CO-FOUNDER

Nicole Kontolefa, CO-FOUNDER

An Actress Prepares: Self tapes

It's time for another installment of “An Actress Prepares” with Tiffany Denise Hobbs! StateraArts uplifts and amplifies women artists in all genres, but we also recognize our strong theatre roots. Tiffany’s series offers mentorship for early-career theatre artists as well as valuable insight for anyone wanting to know more about what it means to be a working actor. Click HERE to see what other episodes we’ve shared with you thus far!

Photo by Jason Moody

AN ACTRESS PREPARES: Self Tapes

by Tiffany Denise Hobbs

Self-taping is a skill set every actor should master (yes— it’s even happening for theatre). It’s not tough to do, but you’ll need to learn the ropes before it feels organic.

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About TIFFANY

Tiffany Denise Hobbs was born and raised in Augusta, GA. Tiffany began dancing at the age of three. In the years following, she discovered a love for theater and music that augmented her passion to be a performing artist. She has trained for over two decades at prestigious liberal and performing arts institutions (UGA, SMU, Yale) and loves every minute of imitating life onstage, on set or in a rehearsal room. A former member of the Brierley Resident Acting Company at the Dallas Theater Center and featured actress at Kenny Leon’s True Colors Theatre, some of her favorite roles include Juanita in James Baldwin's Blues for Mister Charlie, Beatrice in Shakespeare's Much Ado About Nothing and Tonya in August Wilson's King Hedley II.

Tiffany appeared as Shenzi in the National Tour of The Lion King for two years (2015-2017). On TV, she can be found co-starring in Donald Glover's FX hit, "Atlanta"; Netflix's "Ozark" and "The Haunting of Hill House"; the OWN Network's "Love Is ___"; CBS's "MacGyver," "Bull" and "Code Black"; and in SyFy's "Happy." In 2018, Tiffany joined the Broadway musical, Waitress, spear-headed by Sara Bareilles, Jessie Nelson and Diane Paulus. Tiffany just finished a run as Olivia in Twelfth Night at Yale Repertory Theatre and is about to open Much Ado About Nothing with Shakespeare in the Park at the Delacorte Theatre.

More at www.tiffanydenisehobbs.com

Kelcey Anyá Carves Pathways for the 'Little Ava Duvernays' of the Future

The Statera community is made up of incredible artists, actively forwarding the gender parity movement through their participation in Statera Mentorship, Membership, and through their own individual work. We continue to be inspired by their innovation through the last few months, as they find ways to continually advance their artistry and activism within the limits of a global pandemic.

One of our Statera Ambassadors, Kelcey Anyá, has dreamed of opening up her own performing arts academy for years, and has just launched an action-packed virtual summit! We caught up with her to hear all about her work, and why programs like the Kelcey Anyá Performing Arts Academy are needed in the lives of young artists today.

Photo by Mikki Schaffner.

StateraArts: What drives your work?
Kelcey Anyá: My work centers around the development of youth. This means cognitive, emotional, spiritual and artistic development. I want to leave a mark, not necessarily through celebrity or notoriety, but by having a lasting positive impact on people. I believe that the only way to build a stronger future, full of better adults, is to invest in kids. We need to spend more of our time and resources developing and nurturing them to set the tone for who they will become. Whenever I was experiencing the tough stuff in life as a kid, I always ran back into a dance class. I’d have a rough day and immediately turn to, “I wanna go to church and I wanna dance!” 

SA: Tell us about the Kelcey Anyá Performing Arts Academy!
KA: So, we’ve got two things going at the moment. One is KAPAA in its entirety, and the other is the Virtual Summer Summit, which is our inaugural program. As a whole I wanted to create a space where art is cultivated in young people without focusing on just one discipline. Having a hand in so many aspects of the arts has helped develop me as an artist, so I’m creating that same opportunity for young artists! I desire to be a brick and mortar school someday, and long-term I want it to be a performing arts high school!

With everything so up in the air because of COVID19, I needed to lean into the virtual space that we have as a way of launching KAPAA and getting students and parents familiar with the program. We have a full and exciting schedule for each week of the summit! Tunes Tuesday is a music production class, Writing Wednesday is for spoken word and playwriting, Theatre Thursday is their acting class, and on Feature Friday we have people professionally working in the arts come talk to the kids. Friday is really important to me, because it actively disrupts how elitist the arts can be by bringing professionals face to face with them.

I hope and pray that the program is so affordable someday that eventually it doesn’t come out of the pocket of my participants. We currently have four fully-funded participants for this summit, which is a huge victory!

SA: What does it mean for a kid to have this kind of experience in the arts at a young age?
KA: I think it’s everything. There are so many statistics that tell us it’s needed. Intercommunication skills all happen organically in the arts. I don’t think people truly understand how much of that these kids are getting in such a short amount of time. There is so much encouragement and uplifting happening just as a by-product of the way the arts are structured. Kids who don't have that at home or in their everyday life seek out the arts as asylum. For kids with trauma, this platform is safe and non threatening. If they don’t quite have the words for what is happening to them, they have a place to process it artistically. 

Photo by Mikki Schaffner.

The arts are a non-threatening place to get educated. People will come sit in a play about racism because the fourth wall makes them feel safe. A play that is done right will have you questioning and thinking even beyond the walls of the theatre. This upcoming generation is on the front lines of the things happening in the world and they need this space to express. Gen Z is killing it! I’m excited to see how they shape this industry.

What does building KAPAA mean to you?
KA: It means a lot to me, it makes me emotional. The world needs this right now. It’s a bit of a dumpster fire out there! We have little Ava Duvernays and Spike Lees that aren’t being developed or cultivated. It’s not that they don’t want to be, it’s that the resources aren’t available. Or if they are, there are companies that are white-led and enter into their neighborhoods and end up exploiting them without truly developing them, sort of saying, “look what I did with my white dollar for these Black kids”. It’s frustrating for me to see. I wanted to create a program open to all races and genders, led by a Black woman. 

This country was founded in a way that separated people on purpose. It’s systemic. If you’re able to escape your own oppression, you rarely have the resources to bring others with you. We’ve stopped more societal Harriet Tubmans from happening. This program is about giving kids a space to process what's going on in our current world. You can’t talk about the Civil Rights Movement without talking about the Harlem renaissance. The conversations we have about MLK and Malcom X can’t happen without mentioning Toni Morrison and Audre Lorde, or Nikki Giovanni and Angela Davis. They are all equally as radical and as important for us to understand ourselves. 

We need to make the modern day Harlem Renaissance happen for these kids. We are not yet truly empowering people to use their voices. We are only regurgitating what has already been created. It’s time to make room for paths that haven’t yet been created by these young people. The kids who have been alive from 9/11 until now have a lot to say about what is going on in this world.

Mentorship is at the core of the STATERA mission. Tell us about one of your mentors. How did they shape you or provide pathways for opportunity?
KA: I have been so blessed to have black women that I can look up to, specifically in the arts. I know not a lot of people have had that. My sister Ayanna has always been an angel to me. She was doing a gospel stage play and she made me her stage hand when I had never done theatre before. She helped cultivate my presence in the arts. Torie Wiggins is a huge mentor for me. “Help” isn’t even a big enough word. She was the only Black professor at my university and I was the only Black student. I was trying to make art about Black women and she was a safe space to be candid and free in. I don’t know if I would’ve completed my program without her. When I was in spaces where I was discouraged by white professors to not get an MFA or PHD, she was there with the weed whacker to destroy any fears that took root. There are so many amazing Black women artists who have paved the way. The sacrificial lambs before me were so willing to reach back and pull me up with them, have tough conversations, and answer tough questions.

To learn more about KAPAA, visit their website, FaceBook page, and Instagram.

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ABOUT KELCEY

Kelcey Anyá is a multi-disciplinary performing artist hailing from the bayous of South Louisiana. She began her performance career at the tender age of 2 years old where she began dancing and fell in love with all things performance. Her passion grew when acting and singing entered the picture. A few of her favorite credits include “The Stories of Scheherazade” (2008), “Shakin’ The Mess Outta Misery” (2013), “The Color Purple” (2014), and “Same Blood” (2018).

In April of 2019, Kelcey Anyá wrote, produced and performed her first solo show “Out of the Box”, followed by choreographing the regional premiere of A “Hard Knock Life: A dance adaptation of Annie” with Cincinnati Black Theatre Company in June, culminating with receiving her Master’s of Arts in Theatre, Performance and Practice with certificates in both teaching and Women’s Gender & Sexuality Studies from Miami University (Oxford, Oh) that following August. Upon graduating, she moved to New York City where she is pursuing her passion for making the performing arts more accessible to Black and Brown youth.

Return to the Stage: A Performance Arts Workforce Study

RETURN TO THE STAGE study launches TODAY!

Please participate! As arts organizations have grappled with sudden shutdowns, what have been the COVID-19 impacts on the Performing Arts workforce? RETURN TO THE STAGE, an independent longitudinal study of the Performing Arts workforce, will document the impacts on this unique population, as well as reveal if coronavirus-related shutdowns have disproportionately affected specific groups, defined by demographic characteristics, occupation, and discipline.

The workforce is the lifeblood of the performing arts sector. Without the talent and effort of thousands - paid and unpaid - the brilliance of live performance would not be able to happen. Performing arts workers are also uniquely resilient and creative, accustomed to working as a team on tight deadlines, often in rapidly changing conditions. This survey will help us understand how the performing arts workforce is experiencing the effects of COVID-19 related restrictions, what kinds of coping strategies the workforce is using, and what your hopes are for the performing arts field in the months and years to come. 

This is important because, even as the number of jobs changes in response to sudden losses in revenue, understanding the other side of the equation is just as important: the people side. Lost jobs does NOT equate to lost talent, and we want to hear from the full array of talented people so a clear(er) picture can be formed of the performing arts sector’s future. 

Who should take it?

Everyone who works or volunteers in the performing arts: Performers and managers, directors and choreographers, front-of-house folx and box office teams, writers, technical and design folx, development and marketing, facility operators, vendors, and everyone else who makes the work happen. Your input is anonymous, and individual data will never be shared. 

More inforamtion about the purpose, authors, and survey HERE.

Shining a Light on Visionary Leadership

Sophie Dowllar Ogutu is pictured here with other visionary leaders during Statera’s 2018 conference in Milwaukee. From left to right, Yasmin Ruvalcaba (Community Engagement Coordinator for Advance Gender Equity in the Arts), Sophie Dowllar Ogutu, Jane Vogel Mantiri (Founder and Board President of Advance Gender Equity in the Arts), and Lydiah Dola.

The Martha Richards Visionary Leadership Award is given annually to a visionary woman or non-binary leader who uplifts, amplifies, and advances marginalized people in the arts. StateraArts established this award to recognize outstanding leaders and support the work of women who are creating pathways for others. The nomination period for this year’s award is closing on June 30th! (Click here to learn how you can nominate someone in your community.)

In celebration of this award, we wanted to catch up with Sophie Dowllar Ogutu, last year’s recipient, to chat about her work and how the current events in the world are shaping her artistry and activism.

About Sophie

Sophie is a mother, an unapologetic women's rights defender, a community mobilizer and organizer, and above all - a feminist artist. She is a key coordinator of The 5 C's Theatre Collective, co-founder of the Mamma Africa Community Centre, a board member of the Kenya Community Media Network (KCOMNET), a mentor with the Girl’s Brigade, and the principal organizer for SWAN Day Kenya. Sophie is also an International Committee Member for the World March of Women, which has led to collaborations with the Grassroots Global Justice Alliance and the Alliance for Food Sovereignty in Africa.

StateraArts: What drives your work?
Sophie Dowllar Ogutu: The communities I work in are full of absolutely amazing people. I have traveled the world in my line of duty and met so many people that positively change lives. The kind of communities I focus on on a daily basis are the ones closest to home. The solidarity, love, and sense of family that I experience with them has shaped me. It has made me a “social artivist,” willing and happy to carry on with whatever this life has to offer! As much as it is very difficult to measure the amount of success that my work brings, I am very much motivated by the results we can see in the community.

SA: What do you love most about your community?
SDO: My community is feminist based. There is a wide range of sisterhood, solidarity, love, and compassion all round. I have seen sisters forfeit all they have to ensure someone else has something they need. There seems to be a clear and silent slogan here that “one person’s dilemma is everyone’s dilemma” or “one sister’s shame is every sister’s shame.” There is a strong commitment to stand and support one another. I have coordinated a grassroots women’s movement locally through the World March of Women, and this is huge! It is a nationwide movement directly affiliated to the international movement. I get to witness people organizing from small groups of five, ten, fifteen…..all the way up to  thousands. It always takes my breath away.

SA: What do you wish people knew about what you do?
SDO: I wish people understood the importance of mentorship! I am extremely passionate as a Girl’s Brigade captain. The Girls Brigade is a global, uniformed, disciplined, Christian-oriented movement that started many years ago (1893). As they say, a good leader is one who prepares for their exit. The best way to prepare for one’s exit is by mentoring and passing on the baton.

SA: How are current events in the world shaping or re-shaping your artistry and activism?
SDO: This pandemic has exposed so much and also made me look at things with different lenses. Some people think that the COVID-19 has been an equalizer, because it is a pandemic that cuts across all ages, races, classes of people, sexes. In the past, even with a slight headache, people would rush and take a plane abroad because they either do not trust the health system, or they have the money for “luxurious treatments”. Now anyone who might be carrying COVID-19 is sent to the same quarantine centers as everyone else.

If there has ever been a time that humanity has experienced a clear articulation of inequality and discrimination, that time would be now. The Black Lives Matter movement is making visible the fact that black bodies and black communities are targeted for extreme violence. This is the time to carve out a lasting path of healing. In communities where we live, we see a lot of people frustrated because of loss of jobs and financial insecurities. It has reached a point where communities have to do food banks to support one another. When people have to depend on solidarity and communal food baskets, it leads to a lot of mental health issues.

As an artist, human rights defender, and social activist, it is very difficult. Social spaces were the first to be locked down for proper social distancing. We were of course devastated to have to cancel our SWAN Day event this year. As an arts movement, our responsibility now is to look at how we can conduct a research on healing justice as one of the central areas of our focus. I am putting special attention on looking at women and the effects of this pandemic. Psycho-social support therapies are key to healing this world, and art is a huge part of that.

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GUIDELINES

Future recipients of the MRVL Award:

• Uplift, amplify, and advance women and non-binary leaders in the arts

• Actively create pathways to success and advancement for marginalized artists

• Embody Statera’s mission of creating pathways for women and non-binary people in the arts

• Uphold the values of intersectional gender equity in their own leadership

Learn more about Martha Richards and the award here >>>>

An Actress Prepares: Q&A on Acting Pt. 2

It's time for another installment of “An Actress Prepares” with Tiffany Denise Hobbs! StateraArts uplifts and amplifies women artists in all genres, but we also recognize our strong theatre roots. Tiffany’s series offers mentorship for early-career theatre artists as well as valuable insight for anyone wanting to know more about what it means to be a working actor. Click HERE to see what other episodes we’ve shared with you thus far!

AN ACTRESS PREPARES: Q&A on Acting Pt. 2

by Tiffany Denise Hobbs

In this episode, I compile some questions from you about the entertainment business and offer my answers! This is part two of a two-part episode. Enjoy!

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About TIFFANY

Tiffany Denise Hobbs was born and raised in Augusta, GA. Tiffany began dancing at the age of three. In the years following, she discovered a love for theater and music that augmented her passion to be a performing artist. She has trained for over two decades at prestigious liberal and performing arts institutions (UGA, SMU, Yale) and loves every minute of imitating life onstage, on set or in a rehearsal room. A former member of the Brierley Resident Acting Company at the Dallas Theater Center and featured actress at Kenny Leon’s True Colors Theatre, some of her favorite roles include Juanita in James Baldwin's Blues for Mister Charlie, Beatrice in Shakespeare's Much Ado About Nothing and Tonya in August Wilson's King Hedley II.

Tiffany appeared as Shenzi in the National Tour of The Lion King for two years (2015-2017). On TV, she can be found co-starring in Donald Glover's FX hit, "Atlanta"; Netflix's "Ozark" and "The Haunting of Hill House"; the OWN Network's "Love Is ___"; CBS's "MacGyver," "Bull" and "Code Black"; and in SyFy's "Happy." In 2018, Tiffany joined the Broadway musical, Waitress, spear-headed by Sara Bareilles, Jessie Nelson and Diane Paulus. Tiffany just finished a run as Olivia in Twelfth Night at Yale Repertory Theatre and is about to open Much Ado About Nothing with Shakespeare in the Park at the Delacorte Theatre.

More at www.tiffanydenisehobbs.com

“Ghosts of Bogota” Directed by Malini Singh McDonald

The Statera community is made up of incredible artists, actively forwarding the gender parity movement through their participation in Statera Mentorship, Membership, and through their own individual work. We continue to be inspired by their innovation through the last few months, as they find ways to continually create while honoring social distancing.

Today we are excited to share a recent project with you from Malini Singh McDonald, who is a Statera member as well as a mentor for our NYC Mentorship Chapter!

Malini Singh McDonald, Statera Mentor, New York City Chapter

Malini set a goal for herself in 2020: Work on a women-led play and process in honor of the 100th anniversary of women's suffrage. As the pandemic took hold, this goal seemed immensely challenging, but she maintained her intention.

In May, Malini was invited to direct a virtual reading of "The Ghosts of Bogota," a new play by LatinX playwright, Diana Burbano, with Four Walls Theater. Not only was this a project with a woman playwright, director, and women-led production team, it was also a powerful piece about trauma, the immigrant experience, and inner strength--everything Malini had hoped for in a production, except an actual stage. Check out the interview about the piece below, as well as a recording from the staged reading which happened live on May 23rd!

Interview with malini:

“Ghosts of bogota” performance:

Check out our Statera Membership Spotlight on Malini Singh McDonald here.

The Misconception of "Woke" with Chris Sanders

"Statera Voices" is an op-ed series featured on the Statera Blog dedicated to reclaiming dominant cultural narratives as a means towards intersectional gender balance in the arts and beyond. "Statera Voices" is where we tell our stories, expand our histories, and celebrate each other.

Today's offering comes to us from Chris Sanders, an actor, arts educator, activist, and Statera Ambassador! They share with us some thoughts on what it means to be “woke” and inspire us all to stay awake. Enjoy!

Photo by Jordan Fraker.

BY CHRIS SANDERS

I feel as though there is a misconception about “woke” culture. That to be “woke” is to be inclusive, or liberal, or wise, or politically correct, or not a bigot.

To be “woke” is to have awoken from your earthly conditioning. As a child, likely as young as 3 to 5 years old, you had no worries of race, or class, or sex or orientation. You had no fear of murder or theft or sexual assault. You had no insecurities. You had only dreams, and hopes, and even when you felt pain, anger, or fear, you felt love. So much love. Over time your family conditions you to fit their mindset. Then your school conditions you to fit the local mindset. The media and history, that your family and school choose to expose you to, conditions part of your worldly mindset. And thus you become a product of your environment.

You grow to believe that your worth is based on the labels you are given. Your wealth makes you better or worse than others. Your education makes you better or worse than others. Your background/heritage makes your better or worse than others. Your orientation and/or gender makes you better or worse than others.

Then, hopefully, some drastic change happens that causes one to snap out of this mindset. You realize that all people are equal. ALL people are equal. All PEOPLE are equal. All people ARE equal. And all people are SACRED. Thus all people are worthy of Love.

Yes, even that kid from 3rd grade you never forgave for that thing that they did, that one time.

Yes, even that relative/friend/classmate from grade school, who you do not share political/social views with.

Yes, even you. Even though you no longer recognize who you are, how you got here, or what to do now. You, too, are worthy of love.

So! You have awoken to the fact that you have been conditioned to be a certain way... a way that may be very distant from what you imagined you’d be as a small child. So the question becomes: What do you do about it?

Because here is the thing about being “woke”: You are not waking up from a nap. You are waking up from a life-long coma. You are jarred (pushed, shoved, tossed off of a cliff face first) into a new reality. One you do not remember from before the coma and one you certainly do not recall from your coma dreams. Even after “waking up”, you realize that the bedding is old, and the sheets are dirty, and you’re covered in your own filth, and even the clothes you wore to bed don’t fit anymore. Your body suddenly doesn’t fit right. And your voice sounds off to you. So what now? Do you even call for help? Do you get out of bed and change? Or do you sit in the discomfort of your own stink, because it’s too much work to (and perhaps more comfortable NOT to) move?

When you “get woke” that’s just the first step. When you wake up, do you get up to exercise out old thoughts? Or are you still lying in bed with the same tired muscles?

Me? I’ve been waking up for years. And I’m tired of falling back to sleep.

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ABOUT CHRIS

Chris Sanders (they/them) teaches Theatre courses at UTD, in Richardson, TX. They are also a spokesperson for Susan G. Koman, and an Independent Consultant with Arbonne International. Their theatre credits include Frankenstein, A Christmas Carol [2016] (Dallas Theater Center), The Learned Ladies, Much Ado About Nothing, Timon of Athens (Shakespeare Theatre of New Jersey), Our Town (George Street Playhouse), Artist Descending the Staircase at Amphibian Stage Productions, Obama-olgy at Jubliee Theatre, Straight White Men (Second Thought Theatre), the World Premiere of The Monarch (Soul Rep and Echo Theatres), and Tony n' Tina's Wedding (Count Basie Theatre). Chris is also thrilled to have taken on the role of being the Head of Music Ministry with Activate Church. Activate is a place of Christian worship, geared towards entrepreneurs, based in Dallas, TX. Chris earned their BA in Theatre from Kean University and her MFA in Acting from Southern Methodist University. Chris Sanders is represented by the Mary Collins Agency, in Dallas, TX.

Where We Stand

Statera's third National Conference in Milwaukee, WI. (Photo by Malloree Delayne Hill)

StateraArts stands with Black women. We stand with anti-racist advocacy organizations that uplift, amplify, and advance their voices, work, safety, and wholeness. 

We stand with Black Lives Matter. 

We stand with Black, Indigenous, and People of Color theater makers and colleagues that created and cosigned an open letter titled “We see you, White American Theater"

We stand with Color of Change designing powerful campaigns to end practices that unfairly hold Black people back, and champion solutions that move us all forward.

We stand with NAACP Legal Defense Fund working to reform policing in America. 

We stand with The Legal Rights Center serving Minneapolis and providing restorative justice services in the wake of protests. 

We stand with National Cares Mentoring Movement creating a world in which Black children are loved, have access to quality, culturally competent education and are supported by well-resourced families and communities.

We stand with US Dream Academy resourcing and mentoring children most at risk of incarceration. 

We stand with No White Saviors based in Uganda, dedicated to disrupting traditional power structures between the Western world and the African continent.

We stand with Know Your Rights Camp working to advance the liberation and well-being of Black and Brown communities through education, self-empowerment, mass-mobilization and the creation of new systems that elevate the next generation of change leaders.

We stand with Raising Race Conscious Children working to dismantle the color-blind framework and prepare young people to work toward racial justice.

We stand with Campaign Zero working to end police violence in America. 

And we stand with our beloved Statera community. 

We commit to continue our work for justice and parity in the arts sector and beyond. We commit to interogating our organizational practices inside and out. We commit to deep listening. We commit to radical inquiry and transparent action. And we are grateful everyday to be in community with you. 

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Related content:

• Speak His Name | George Floyd

• Artist Resources: Statera Responds to COVID-19

• Signal Boost: Art Became the Oxygen

• StateraArts Envisions the Future

Speak His Name | George Floyd

StateraArts speaks his name. George Floyd. 

Statera calls on our sector to use your arts missions to disrupt and end the centuries-long history of violence enacted on Black people. Today, we use our mission in active learning, solidarity, and movement toward justice and healing. 

Uplift the people whose lives are systemically and unequivocally altered or crushed by racism and hatred. 

Speak their names. 

George Floyd.
Breonna Taylor.
Tony McDade.
Ahmaud Arbery. 
Tamir Rice. 
Trayvon Martin. 
Nina Pop.
Oscar Grant. 
Eric Garner.
Philando Castile. 
Samuel Dubose. 
Sandra Bland.
Walter Scott. 
Terence Grutcher.   
Aiyana Jones.
Michael Brown.              

#BlackLivesMatter                  

Amplify the voices and stories of those experiencing loss, fear, grief, exhaustion, and hopelessness as a result of racism and hatred. Tell their stories. 

Advance learning and healing and justice for the sake of those whose lives have been stolen by and sacrificed to racism and hatred. Learn, inquire, question, disrupt. LEARN. Then teach and engage your audiences, your Boards, your teams, your children, your students, your communities. By example, through art, with love, compassion, and above all, unfiltered honesty.

Learn. Teach. Change. Heal. Create arts pathways that allow us all to do so. 

StateraArts speaks his name. George Floyd. George Floyd. George Floyd. George Floyd. George Floyd…

With Love,
The Statera Team

Nominations for the Martha Richards Visionary Leadership Award Are Now Open

Sophie Dowllar Ogutu (left) was the 2019 recipient of the Martha Richards Visionary Leadership Award. She is pictured here at Statera's 2019 National Conference with Statera Co-Founder, Shelly Gaza (center) and Lydiah Dola (right.) (Photo by Malloree Delayne Hill)

Nominations for the Martha Richards Visionary Leadership Award are now open through June 30th.

The award is given annually to a visionary woman or non-binary leader who uplifts, amplifies, and advances marginilized artists.

StateraArts is honored to highlight the extraordinary achievements of leaders providing powerful role models for mentorship and intersectional equity. The recipient is nominated by the public and chosen by committee. The award comes with international recognition and a $2,000 prize.

GUIDELINES

Future recipients of the MRVL Award:

• Uplift, amplify, and advance women and non-binary leaders in the arts

• Actively create pathways to success and advancement for marginalized artists

• Embody Statera’s mission of creating pathways for women and non-binary people in the arts

• Uphold the values of intersectional gender equity in their own leadership

SUBMISSION & ANNOUNCEMENT TIMELINE:

June 1-30, 2020 - Nominations/Submissions accepted

July 1 - August 15, 2020 - Review period

Late August 2020 - Notify recipient

October 2020 - Recipient is presented with Award

Learn more about Martha Richards and the award here >>>

An Actress Prepares: Q&A on Acting Pt. 1

It's time for another installment of “An Actress Prepares” with Tiffany Denise Hobbs! StateraArts uplifts and amplifies women artists in all genres, but we also recognize our strong theatre roots. Tiffany’s series offers mentorship for early-career theatre artists as well as valuable insight for anyone wanting to know more about what it means to be a working actor. Click HERE to see what other episodes we’ve shared with you thus far!

AN ACTRESS PREPARES: Q&A on Acting Pt. 1

by Tiffany Denise Hobbs

In this episode, I compile some questions from you about the entertainment business and offer my answers! This is part one of a two-part episode. Enjoy!

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About TIFFANY

Tiffany Denise Hobbs was born and raised in Augusta, GA. Tiffany began dancing at the age of three. In the years following, she discovered a love for theater and music that augmented her passion to be a performing artist. She has trained for over two decades at prestigious liberal and performing arts institutions (UGA, SMU, Yale) and loves every minute of imitating life onstage, on set or in a rehearsal room. A former member of the Brierley Resident Acting Company at the Dallas Theater Center and featured actress at Kenny Leon’s True Colors Theatre, some of her favorite roles include Juanita in James Baldwin's Blues for Mister Charlie, Beatrice in Shakespeare's Much Ado About Nothing and Tonya in August Wilson's King Hedley II.

Tiffany appeared as Shenzi in the National Tour of The Lion King for two years (2015-2017). On TV, she can be found co-starring in Donald Glover's FX hit, "Atlanta"; Netflix's "Ozark" and "The Haunting of Hill House"; the OWN Network's "Love Is ___"; CBS's "MacGyver," "Bull" and "Code Black"; and in SyFy's "Happy." In 2018, Tiffany joined the Broadway musical, Waitress, spear-headed by Sara Bareilles, Jessie Nelson and Diane Paulus. Tiffany just finished a run as Olivia in Twelfth Night at Yale Repertory Theatre and is about to open Much Ado About Nothing with Shakespeare in the Park at the Delacorte Theatre.

More at www.tiffanydenisehobbs.com

An Interview with Visual Artist Ash Prather

The Statera community is made up of incredible artists, actively forwarding the gender parity movement through their participation in Statera Mentorship, Membership, and through their engagement in our conferences and convenings.

One such artist is Ash Prather, a trans artist studying Sculpture and Integrated Practices at Pratt Institute in Brooklyn, NY. Ash participated in our New York Mentorship Chapter last fall. We are thrilled to share a little bit about his story and his artistry with you today.

Photo credit: Ava Trilling

StateraArts: What inspires your work most?
Ash Prather: I’ve recently been inspired by music that’s helped me undergo insightful processing and self-discovery, in addition to art made by people that have completely redefined what I believed to be possible in the art world. The Midnight Gospel, for example, has been a huge inspiration for me since late April. I’ve had a personal love of podcasts and animation for a long time, so to see those two worlds meld in unprecedented improv-like conversations on topics I have interest in has really begun to shape my perspective. (These topics span from psychedelic therapy to how energy is recycled through the perspective of magic). As someone who’s main art-focus is an uncommon one (soft-sculpture), to see work that’s also uncommon prevail gives me hope that I can too. 

Photo credit: Ava Campana

SA: Tell us a bit about your journey as a trans person in the arts.
AP: Exploring my identity has always happened through art. From a young age, the art world was my key outlet to finding a voice and still remains as the singular concept that interests me. From slowly transitioning as a cis female to genderfluid and then to trans male, art has always been on my side. It’s helped me connect the dots to things I previously was unable to articulate, and continues to do so to this day.  

SA: How is gender either relevant or irrelevant to your artistry?
AP: My most recent art follows a pattern in circus-like aesthetic and style, while maintaining expression of personal thoughts, experiences, and memories. Through the use of silkscreen printing and freeform pattern-making, my hopes are to alter both the perception and definition of “soft sculpture.” The faces that I repeatedly draw in tangent with my handwriting serve as conduits of self-portraiture. Within each piece is to some degree a depiction of my identity (black queer trans-male), mental health struggles (PTSD, depression), or influences that’ve played a key role in self-discovery.  Although gender isn’t my main source of artistic expression, the fluidity of the concept still shines through in the wide array of materials I use. I feel that both art and gender are an open-ended discussion that a person can have with themselves and other people, so my work tends to revolve around ways that my perspective and ideas aren’t boxed in. 

SA: When did you feel most supported or championed in your life? 
AP: I feel like a major point in my art career was being named a Young Arts finalist in Visual Arts (as one of 20 out of over 500 applications worldwide). It was a major milestone in gaining confidence that I was on the right track with what I wanted to say through my artwork, and made me realize the points I attempted to make successfully impacted others. It was also the first time I’d openly expressed my gender through a portfolio (which was genderfluid at the time), and definitely contributed to my journey in defining myself as a trans man.

StateraArts: What’s on the horizon for you?
AP: My dream is to become a cross-country tattoo artist (while incorporating my Sculpture degree through projects I organize as well). As a pre-T trans man, my tattoo has helped me become more comfortable in my skin. If I became a professional in that field, I’d love to use my artwork to make other people feel comfortable too! I think it would be really cool to have my work travel with people and spread to places I have yet to be as well.

Thank you for sharing your artistry with us, Ash! To view more features from our Statera Spotlight series, click here.

An Actress Prepares: Tiffany Hobbs Talks About Cold Readings

It's time for another installment of “An Actress Prepares” with Tiffany Denise Hobbs! StateraArts uplifts and amplifies women artists in all genres, but we also recognize our strong theatre roots. Tiffany’s series offers mentorship for early-career theatre artists as well as valuable insight for anyone wanting to know more about what it means to be a working actor. Click HERE to see what other episodes we’ve shared with you thus far!

Photo by Jason Moody Photography

AN ACTRESS PREPARES: Cold Readings

by Tiffany Denise Hobbs

In this episode, I dive into something that can be an actor's nightmare: cold readings. You often don't have much more than a few minutes to prepare your scenes for these auditions, but there are a few things you can do to set yourself up for a successful audition. Find out what those things are in this week's episode!

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About TIFFANY

Tiffany Denise Hobbs was born and raised in Augusta, GA. Tiffany began dancing at the age of three. In the years following, she discovered a love for theater and music that augmented her passion to be a performing artist. She has trained for over two decades at prestigious liberal and performing arts institutions (UGA, SMU, Yale) and loves every minute of imitating life onstage, on set or in a rehearsal room. A former member of the Brierley Resident Acting Company at the Dallas Theater Center and featured actress at Kenny Leon’s True Colors Theatre, some of her favorite roles include Juanita in James Baldwin's Blues for Mister Charlie, Beatrice in Shakespeare's Much Ado About Nothing and Tonya in August Wilson's King Hedley II.

Tiffany appeared as Shenzi in the National Tour of The Lion King for two years (2015-2017). On TV, she can be found co-starring in Donald Glover's FX hit, "Atlanta"; Netflix's "Ozark" and "The Haunting of Hill House"; the OWN Network's "Love Is ___"; CBS's "MacGyver," "Bull" and "Code Black"; and in SyFy's "Happy." In 2018, Tiffany joined the Broadway musical, Waitress, spear-headed by Sara Bareilles, Jessie Nelson and Diane Paulus. Tiffany just finished a run as Olivia in Twelfth Night at Yale Repertory Theatre and is about to open Much Ado About Nothing with Shakespeare in the Park at the Delacorte Theatre.

More at www.tiffanydenisehobbs.com

Statera Member Spotlight: Chie Morita

HOME

StateraArts members live in cities across the US and hail from all genres of art-making. They are arts leaders, activists, content-creators, professional artists, and educators; early-, mid-, and late-career; patrons, community organizers, and more. The Statera Member Spotlight is just one way StateraArts uplifts and amplifies the voices of our members.

Today, we introduce you to Chie Morita.

Photo credit: Caleb McCotter

StateraArts: What is your occupation or calling in the arts?
Chie Morita: I trained as a producer, general manager, managing director, and casting director. I now identify as a founder, consultant, producer, and creative problem solver. And I’m here to liberate the artist from cultural stereotypes and negative self-stories through proactive planning, personal road mapping, and the practice of collaborative asking. Basically, I ask people “why?” a lot…while also believing in their dreams.   

SA: What inspires your work most?
CM: I’m inspired to help makers make. There is nothing more exciting than a passionate person who knows what they are talking about and wants to share. I think it’s an absolute travesty that more makers don’t believe in the necessity and value of their work. I also think it’s devastating that our culture doesn’t teach more makers that their work is necessary and valuable. Add to this mix that most artists don’t leave school with the life planning tools, financial literacy skills, and basic business knowledge they need, and it’s a recipe for disaster, over and over again. I’m inspired to tackle this seemingly Sisyphean problem, even if I have to do it one maker at a time!

SA: What organizations are you affiliated with?
CM: I am the co-founder of FORGE NYC (with co-founder Greg Taubman), a boutique consultancy devoted to helping artists and companies take the next step in their own work. We consult, of course, and we also offer residencies, retreats, and pop-up workspaces for makers of all kinds. We proudly partner with organizations like A.R.T/New York, The Artist Co-op, and the Indie Theater Fund to widen our reach and offer our services through the generous support of donors and foundations.   

I’m also a Regional Coordinator for the StateraArts mentorship program in NYC, a Board member for The Musical Theater Factory, and a co-producer on an Untitled Steven Kopp/Noah Reece Superhero musical in development. It’s also worth mentioning that I served as the Managing Director for the New York Neo-Futurists for many years, and I still very much see those folks as forever people. Once a Neo, always Neo.

SA: How did you become a StateraArts member?
CM: I met the lovely Mara Jill Herman (Regional Coordinator for NYC) and she asked if I would be interested in joining the RC team. After a few meetings, I said “yes” (it was a no-brainer), and the rest is history! I believe very strongly in the power of positive individual connection and mentorship. Statera is a perfect place for me to apply my skills. The community is wonderful and I’m thrilled to be a part of it.

SA: Tell us about one of your favorite projects.
CM: Amanda Palmer says a lovely thing about our jobs as art-makers being collecting and connecting dots... and in that way, my whole career kind of feels like one giant ever-growing project. There are definitely some standout dots, and they all connect: 

Here Lies Love: I got to help cast that piece and work on several development workshops, and that whole team is full of brilliance. End of the Rainbow was my first Broadway show. I ended up there because of Jordan Thaler’s wisdom. I work often with Heather Christian, who I met through a friend at The Public when she had just sold her piano to master her first record. I produced a benefit concert to get her a new one called 7 Toy Pianos and we played 85% of the show on toy pianos from foreign countries, none of which were in the same key. That same friend at The Public introduced me to Greg Taubman. I produced his graduate thesis, Antigone/Progeny, and now we run a company together. The guy who played Haemon in that thesis invited me to a musical sleepover in the back of a porn studio, and that night I joined the board for the Musical Theater Factory. The same guy’s sister invited me to visit her in New Orleans, and now I’m helping to open The Wonderland Historical Society, a cultural facility and residency space there… see what I mean?

SA: What do you love most about your artistic community?
CM: If you mean New York City: I love her because she always says “yes”. I have never lived anywhere else where anyone, on any given day, could step out onto their stoop, declare their dreams, and the city would say “OK! Go get ‘em! I support you!” with no judgment. The artistic communities in NYC that I have been a part of are like that too: inviting, supportive, and kind…with a healthy dash of tough love from time to time. I am incredibly privileged to call this city home. If you mean my Tribe: I love them because they are smart, encouraging, and stupidly talented. They ask amazing questions, are fierce collaborators, and they show up like no humans I have ever met. I am supremely lucky.

SA: Any upcoming projects you'd like to share with us? 
CM: FORGE has shifted Fast Fuel, our pop-up workspace, onto Zoom for the foreseeable future. We are now doing 3-4 a month and we would love to welcome new makers! The format is super casual and we have gotten fabulous feedback so far. More info, dates, and RSVP can be found on our website. 

We will also be teaching an online version of our signature workshop, The Artist’s Roadmap, on June 17th in collaboration with The Artist Co-op. Grounded in the same tools and techniques that we provide our consulting clients, The Artist’s Roadmap is a holistic workshop that trains makers to articulate their purpose and plan for their future. Encouraging you to treat your goals as defined destinations rather than uncertain outcomes, The Artist’s Roadmap offers you the language, logistics, and landmarks to chart your course on the road to success. We hope you will join us!   

SA: Mentorship is at the core of the STATERA mission. Tell us about one of your mentors. How did they shape you or provide pathways for opportunity?
CM: Honestly, part of the reason I do the work I do, and why I said “yes” to joining the NYC regional coordinator team, is because I never had a mentor myself. Not a proper one anyway. That being said, there is a laundry list of amazing artists and makers that have shaped me and taught me valuable things. If I had known how to ask any of them to mentor me, who knows where I would be now. I am eager to share my experiences and expertise in the hopes that with more collaboration and connection, we can find better ways to create, innovate, and change the world.

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About CHIE

Chie C. Morita (she/her) seeks creative solutions to everyday debacles. She is a co-founder and partner of FORGE, a boutique consultancy devoted to helping artists and companies take the next step in their own work. In all she does, Chie seeks to liberate the artist from cultural stereotypes and negative self-stories. Always eager to challenge the norms under which we were taught to create, she consults and mentors on proactive planning, financial literacy, and the practice of collaborative asking. Most recently, Chie served as the Deputy Director at Town Stages, a Cultural Arts and Event space in Tribeca, where she created, curated, and managed the Sokoloff Arts Fellowship Program, which offered space, mentorship, and resources to makers of all kinds. While at Town, she had the pleasure of working with artists such as Third Rail Projects, The Macallan, Art Beyond The Glass, Milajam, Spotify, Fault Line Theatre Company, and many others. In New York, she has worked with Tony-Award-winning Broadway Producer Joey Parnes (A Gentleman's Guide to Love and Murder, Vanya and Sonia and Masha and Spike, End of the Rainbow), institutions including The Public Theater, Ars Nova, and New York Neo-Futurists (who, under her care, were awarded three Drama Desk nominations), and such independent artists and ensembles as Heather Christian and the Arbornauts, Esperance Theater Company, Extant Arts Company, UglyRhino, Panicked Productions, Fresh Ground Pepper, and art.party.theater.company. Chie is also a collaborator on the Wonderland Historical Society in New Orleans, a proud board member of The Musical Theater Factory and a co-producer on an Untitled Kopp/Reece Superhero musical in development.

Make Your 2021 Impact By Becoming a Mentor Now

We are thrilled to share that Statera is now accepting MENTOR Intake Surveys year round!

The 2020 Statera Mentorship cohort, with nearly 1,000 participants in 17 active chapters nationwide, is halfway through. But we are looking ahead! Statera Mentorship connects women and nonbinary people in the arts to disrupt isolation, expose barriers, nurture creativity, and activate goals. And we need your help.

Lucy Owen, a mentor in the Statera Mentorship New York City chapter says, “I met my mentee in person on what would be the last day before I went in to quarantine here in New York. Supporting another artist [during such] profound change has been medicine for me and I intend to maintain this support long after our session expires.”

Being a Statera Mentor is a rewarding and life-affirming experience. Growing reasearch shows that intentional mentorship has an enormous impact on a person’s trajectory by actively closing the opportunity gap. For marginalized artists, mentorship is a game-changer.

You can help Statera create a robust mentor pool for the coming year by signing up now. All you have to do is fill out the initial intake survey. That’s it! The next round of mentorship pairings will occur in January of 2021. A Statera team member will be in touch in December of 2020 to confirm your interest and availability. This program thrives because of incredible people like you.

Get Involved

• Become a mentor. If you’re interested in becoming a mentor in the 2021 cycle, please visit your local chapter to fill out an initial intake survey.

• Give the gift of Mentorship. Help StateraArts cover the cost of our 2020 mentee scholarships by giving the gift of mentorship. Just $30 can make an enormous difference in our ability to offer mentorship waivers to artists in need.