11/10/2023 0 Comments No need to remind me crossword![]() “There are days when I wake up and see how much money we have in the bank,” Maraya-Ramey said. But for small arts organizations like Maraya, the philanthropic mountain is a steeper climb. Meanwhile, large artistic institutions, faced with the same dilemmas as small groups, often benefit from the largesse of generous philanthropists and the cushion of endowments. “At a time when you’re hoping to rely on them, they’re just not there.” “The pandemic didn’t necessarily speed things up but made arts organizations feel the pain more,” added Sowinski Nemeth, who cited a January 2023 JCA-commissioned study that looked at trends in audience behavior. “Across the performing arts industry, regardless of size, subscriptions have been decreasing for a long time,” said Jennifer Sowinski Nemeth, a senior consultant and analyst for JCA Arts Marketing, which specializes in data-driven consulting for arts and culture organizations across North America. In 2022, according to a recent Giving USA study on charitable giving, the arts and culture sector saw an 8.9 percent drop in donations.Īnd for many groups that rely on the once-profitable subscription model, the fact that audiences aren’t as willing to commit to an entire season, or most of it, has been a wake-up call. It is, perhaps, the culmination of a perfect storm: a confluence of tough economic and cultural forces, with the collective impact hitting the arts where it hurts - the budget.Īudiences have returned but at levels far lower than pre-pandemic times - forcing arts groups to rethink how to move forward, especially as the cost of doing business, from equipment rentals to gas prices, has continued to rise.Īs the economy teeters on the brink of a recession, donated income - from grants, sponsors, foundations and individual donors - has decreased. But what is happening does not necessarily lay all the blame on the COVID-19 shutdown. Similar scenarios are being played out from coast to coast, in tiny towns and big cities, in community theaters and metropolitan arts powerhouses. ![]() disappointing ticket and subscription sales.”īack home, the San Diego Blues Festival, citing “soaring inflation, skyrocketing production costs and supply-chain challenges,” announced in May it was shutting down after a 12-year run.Īnd the San Diego Opera, faced with declining ticket sales and rising costs, in July announced a leaner 2023-24 season. More than 750 miles away, in North Carolina, the Actor’s Theatre of Charlotte shuttered, with its executive director attributing the closure to “the continuing effects COVID-19 has had on performing arts. This past June in New York’s Catskill Mountains, the dance-focused Petronio Residency Center - run under the auspices of the contemporary dance nonprofit Stephen Petronio Dance Company - shut down after grants it had been banking on did not come through. The COVID-19 shutdown three years ago may be long gone, but its effects continue to reverberate nationally and locally through the arts, especially in the performing arts. As founder, CEO and artistic director of Maraya Performing Arts, she knows all too well that in the arts world, every dollar counts. That’s $100 Ramey can’t really afford to part with. “The police will show up,” she said, “and it’s $100 every single time.” Minutes later, it began screeching once again, sending Ramey and her staff scrambling to make calls to the alarm company. Welcome to the world of a small arts organization.” When the alarm finally stopped, Maraya-Ramey looked up and sighed: “I can barely hear - my ears are ringing. The keypad was broken, and all attempts to type in the code were fruitless. When choreographer Anjanette Maraya-Ramey arrived at her Chula Vista studio one Monday afternoon in September, she was welcomed by a frantic employee and the piercing shriek of an alarm.
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