Capital Area Preservation looks for opportunities

By Todd Cohen

RALEIGH, N.C. — In the face of growth in Raleigh and Wake County, a boom in land development is putting historic buildings at risk but also boosting efforts to preserve and restore those properties and integrate them into the region’s life and economy.

“Development creates dangers but it also creates opportunities,” says Gary Roth, president and CEO of Capital Area Preservation in Raleigh.

The nonprofit was founded in 1972 as the Mordecai Square Historical Society by individuals who had worked to save Mordecai House after the death of the last descendent of the Mordecai family to live in the house, which was built in the 1700s.

In partnership with the city of Raleigh, which renovated the building and maintained it and the grounds, the nonprofit initially managed the visitors program and interpretation of the building.

In 1983, starting to look beyond Mordecai House, the nonprofit accepted its first historic preservation easement — a private agreement with a property owner that is attached to the deed, remains with the property permanently, and includes restrictions on any changes to the building or property, or both, unless approved by the party that holds the easement.

In 1985, after accepting four more historic preservation easements, the nonprofit changed its name to Capital Area Preservation.

Operating with an annual budget of $217,000 and a staff of two people, the group works to “incorporate in our growing future the best of the past” by protecting historic properties, and promoting and raising awareness of historic preservation, Roth says.

Capital Area Preservation now holds 30 easements, and often receives a financial gift from the property owner making the easement to support its easement work.

It also serves as staff for the Wake County Historic Preservation Commission, with the number of landmarks approved by municipal and county government since it formed its partnership with Wake in 2003 growing to 75 from 23.

In return for agreeing to allow their property to be designated as an historic landmark, property owners get a 50 percent deferral on their property tax as long as they comply with the landmark agreement, and must seek permission of the Commission to make changes to the building exterior or land.

If property owners want the landmark designation removed, they must pay three years’ deferred taxes.

Capital Area Preservation, which also has contracts with the towns of Apex, Cary and  Morrisville, has developed five historic properties since 2003.

It typically acquires a property through a gift, then stabilizes and sells it with a preservation easement, often generating a donation from the buyer to support its work.

Roth, who holds a master’s degree in museum and historic preservation from Wake Forest University, says the preservation movement for its first 100 years after its genesis in the 1850s generally focused on turning the homes of famous Americans into museums.

But in recent years, the focus has changed “to saving buildings to integrate them into the future life of our communities, not to keep them as museums, but to keep them as functioning businesses and homes” that use the past to inform the future, he says.

“We are a growing county,” Roth says. “We’re changing rapidly. It’s so important to have a part of our history among us. If a society doesn’t have some knowledge or reverence of its history, we march into our future blindly.”

Kidznotes growing in Wake, considers expansion

[Note: This was written for The Mary Duke Biddle Foundation.]

DURHAM, N.C. — Kidznotes, a Durham nonprofit that uses orchestral training to prepare underserved students to succeed in school and life, will continue its expansion into economically-distressed Southeast Raleigh and is considering future growth in other parts of the Triangle, thanks in part to a $25,000 grant from The Mary Duke Biddle Foundation in Durham.

Formed in 2010, Kidznotes will serve 300 students in Durham and 150 in Wake County this school year, up from a total of 330 last year. It plans to add another 35 Raleigh students this year and grow to a total of 1,000 students in the Triangle by 2020.

And it is considering expanding to new areas in the 2017-18 school year.

Kidznotes was inspired by El Sistema, an effort that began in 1975 in the slums of Caracas, Venezuela, and now reaches millions of students throughout the world, including hundreds of thousands of students in Venezuela and 30,000 in 120 communities in the U.S.

The Durham nonprofit partners with public schools in which over 80 percent of students qualify for lunch that is free or at a reduced price.

“Our kids face significant stress at home, in school and in their communities as a result of poverty,” says Katie Wyatt, executive director and co-founder of Kidznotes. “Now, they are on track for good grades, good retention, low suspension rates and low detention rates, and will be at the top of school in high school and beyond.”

Mimi O’Brien, executive director of the Biddle Foundation, says Kidznotes “demonstrates the foundation’s long-held conviction that the arts can be a vehicle for social change. We are enthusiastic about making this empowering opportunity available to more children.” This grant is made as part of the foundation’s celebration of its 60th anniversary.

Making music

Co-founded by Durham philanthropist Lucia Powe, Kidznotes operates with an annual budget of $1 million, and a staff of 10 people working full-time and part-time, plus about 40 teaching artists.

In partnership with five elementary schools each in Durham and Raleigh, and a middle school in Durham, it immerses students in music instruction after school, and on Saturdays it assembles all the students in each community for orchestra or band rehearsals, along with choir rehearsals.

All Kidznotes students learn violin in kindergarten, with kindergarteners and first-graders spending a total of six hours a week after school and Saturdays on the program, and older students spending at least 10 hours a week.

Starting in first or second grade, students join either a band or orchestra, and all students also participate in a choir starting in kindergarten.

“Knowing how to sing makes the best musicians,” says Wyatt, a violist who played with the New World Symphony in Miami for two-and-a-half years, and served as director of education for the North Carolina Symphony. “You have to have an internal sense of pulse and pitch.”

Kidznotes provides instructors for all instruments, and each school provides a music teacher for team-teaching after school, and for orchestra or band instruction one Saturday a month.

Kidznotes also provides all instruments and the curriculum, while the participating schools pay for the music teacher and provide rent-free space, a snack, and a bus after school to take students from their schools to the Kidznotes home base, known as a “nucleo.”

Music to thrive

Students who participate in Kidznotes do better in school and are prepared to succeed in life and work, Wyatt says, because learning an instrument and performing in an orchestra stimulate brain development.

Those activities also lead to increased executive functioning skills; greater academic achievement and language comprehension; improved social skills; advanced character development; more nimble physical coordination; greater self-confidence; and the critical skills of problem-solving, self-discipline and teamwork.

“As you learn new skills and create new sounds and advance on your instrument, your brain improves in the way it works,” Wyatt says. “El Sistema uses the orchestra and assembling a mini-society to create a model of living and of human effort that is really about every single person mastering their part and blending it to create something of great beauty that is bigger than just yourself.”

Partners in music

In addition to public schools, key partners of Kidznotes are other schools, professional arts organizations and parents.

Serving as volunteer mentors to Kidznotes students, for example, are students and teachers from the North Carolina School of  Science and Math, Durham School of the Arts, Durham Academy, and East Chapel Hill High School, among others.

Guest artists from professional organizations like the North Carolina Symphony, North Carolina Opera and Duke Performances, among others, work with Kidznotes students, who also are invited to attend their performances for free.

And parents of Kidznotes students are encouraged to attend all performances. Kidznotes students perform at least six times a year, typically 10 to 12 times, and as many as 25 times for the most advanced students.

Last year, for example, they performed at the Raleigh Convention Center for the annual Spree of the Junior League of Raleigh; at a Sunday morning service at Christ Church in Raleigh; and in the Red Hat Amphitheater for the annual Band Together concert culminating a year-long partnership that raised $1 million, including $850,000 for Kidznotes.

Wyatt also is executive director of El Sistema USA, which in July announced a partnership in which Duke University will incubate an effort to provide professional development opportunities to program directors for organizations like Kidznotes that are members of the national organization.

Music impact

The schools Kidznotes partners with serve some of the Triangle’s most underserved communities. Unemployment in Southeast Raleigh totals 12.2 percent, eight percentage points higher than Wake County overall, for example, while the median income in the region totals $28,370, roughly $35,000 below the Wake County average.

“Children from the neighborhoods we serve confront unfortunate, poverty-based reality even before they arrive at the schoolhouse door,” Wyatt says. “The Kidznotes and El Sistema philosophy is designed systematically to build a wellspring of positivity, joy and healing, and drive, and also a lot of hard work in a highly creative environment to work hand-in-hand with families to overcome the deficits of poverty.”

Museum helping more at-risk students learn through art

[Note: This was written for The Mary Duke Biddle Foundation.]

ASHEVILLE, N.C. — More underserved children in Asheville, Buncombe County and three rural counties in Western North Carolina will have access to arts education and activities through a $25,000 grant to the Asheville Art Museum to build partnerships with local schools and parks-and-recreation centers.

The funds, from The Mary Duke Biddle Foundation in Durham, will help the Museum provide nearly 10,000 hours of visual-arts programming to 950 students in kindergarten through fifth grade in McDowell, Henderson and Madison counties.

During the course of a year, the Museum will offer to 1,200 pre-school children and their caregivers in Asheville and Buncombe County a weekly program it has piloted on a monthly basis since 2012.

“The arts are an essential component in developing critical thinking skills that lead to success, yet over the past 20 years there has been a steady decline in funding for the arts,” says Pamela L. Myers, the Museum’s executive director. “We partner with schools throughout the region to ensure that the diverse population of students have full access to art and education, and to programs that allow for students with different learning styles to excel in the arts and in their academic studies.”

Mimi O’Brien, executive director of the Biddle Foundation, says the Museum’s expansion of its programs will provide new opportunities for underserved students and preschoolers to thrive.

“The arts are a powerful, inspiring tool that helps children and adults alike learn, grow and connect with the people and places in their lives,” she says.

The Foundation made the grant as part of the celebration of its 60th anniversary.

Arts and education

Established by artists in 1948, the Asheville Art Museum is the only accredited visual arts institution serving all 24 counties in Western North Carolina, a region of over 1.2 million residents and some of the most underserved and low-wealth school districts in the state.

For school districts in the region, particularly in the face of increasingly tight budgets for education, access to educational innovation and auxiliary services such as arts education is limited.

“They are places in which teachers and school administrators struggle to provide enrichment to the diversity of their students,” Myers says.

To help fill that gap, the Museum serves as the arts education partner of schools.

‘Literacy Through Art’

In 1994, the Museum launched its Literacy Through Art program, a partnership with school districts to boost student literacy by integrating the arts with learning. Yet with the steady decline in public support for enrichment programs beyond the traditional curriculum of reading, writing and math, the Museum has been providing a growing share of resources for the program.

With the involvement of principals and classroom teachers, the Museum provides nine lessons of 60 minutes each in participating schools. Leading the classroom lessons, which meet state goals and objectives in language arts and visual arts, are artist-educators.

The 10th and final lesson includes a visit to the Museum — with some schools providing transportation — for a gallery tour and hands-on studio activity.

And by collaborating with the artist-educators, participating classroom teachers can build their skills to incorporate art into their classroom activities.

An evaluation of the program by a researcher at the North Carolina Center for the Advancement of Teaching suggested that students benefit academically from the program because it addresses multiple learning styles to build visual and language art skills.

In McDowell, Henderson and Madison counties, which will get the program as a result of the Biddle Foundation grant, the poverty rate is above 17.2 percent. And the percentage of students who get lunch that is free or at a reduced price totals over 63 percent in Madison and McDowell counties, and 54 percent in Henderson County.

Without the Museum program, and in the wake of budget cuts and limited resources for many school districts, visual arts would not be part of the curriculum for most students in those counties. Madison County, which was part of the program when it was launched in 1994, has not participated since 2004 because of budget cuts.

‘Tot Time’

Four years ago, the Museum began piloting its Tot Time program, which features guided art activities for pre-school children and their caregivers. Offered once a month at the Museum, each session focuses on a different topic or theme.

The program uses a range of art activities to improve motor skills, language development and visual learning, while fostering interest in the arts and providing socialization for preschoolers and their caregivers.

Now, through the Biddle Foundation grant, the Museum will conduct five Tot Time programs a month for a year for a total of 60 visits to public libraries and parks-and-recreation centers that will reach 1,200 pre-school children and their caregivers from diverse and disadvantaged populations in Asheville and Buncombe County. One location will be Stephens-Lee recreation center, located in one of the city’s historically African-American communities.

Museum expansion

To better serve underserved, rural and low-wealth students throughout Western North Carolina through outreach activities, on-site programs and teacher-training opportunities, the Museum is in the midst of a capital campaign to raise $24 million to renovate and expand its facilities, including doubling its education spaces.

With funds from the campaign, which already has raised $18.5 million, the Museum will have over twice the amount of studio classroom space, divided into two classrooms and accommodating larger class sizes and school groups, as well as multiple programs for different audiences at the same time.

By expanding its Literacy Through Art and Tot Time programs during the renovation and expansion of its facilities, the Museum can “learn from the diversity of our communities what our partnerships should look like going forward for the next generation,” Myers says.

A key question is “how can the Museum best serve this diversity of communities,” she says. “The Museum doesn’t have to be a one-size-fits-all solution.”

The arts “spread everyone’s wings and open up a universe of inspiration, innovation and creativity that can affect every aspect of one’s life,” she says. “They provide a whole other way of opening up dialogue and discourse among people and individuals who interact with the creativity found in the arts.”

Arts momentum in Durham grows with arts directory, artist grants

[Note: This was written for The Mary Duke Biddle Foundation.]

DURHAM, N.C. — An online arts directory and continued investment in career development for emerging artists are the focus of a $25,000 grant to the Durham Arts Council that underscores Durham’s growing reputation as a hub for the arts.

With about two-thirds of the funds, from The Mary Duke Biddle Foundation in Durham, the Arts Council plans to develop and launch by late next summer an online directory of artists and arts organizations.

The Arts Council will use the remaining funds to support grants it has made each year to local artists since 1984, when it created a grant program for emerging artists that has become a model for counties throughout North Carolina.

“We are working to create opportunity for artists and arts groups to work collaboratively among themselves, to work across sectors, to apply for grants, to be more accessible, and to get the training they need,” says Sherry DeVries, executive director of the Arts Council.

Mimi O’Brien, executive director of the Biddle Foundation, says the Arts Council is “helping to build Durham’s growing brand as a major arts center that attracts and connects artists, arts groups and visitors.”

The arts “inspire, and are helping to transform Durham into a stronger, more vibrant community,” she says.

The Foundation made the grant as part of the celebration of its 60th anniversary.

Arts catalyst

Formed in 1954, the Arts Council operates with an annual budget of $2.7 million, with 31 percent of it through the donation of goods and services, and a staff of 10 people working full-time and two working part-time. It raises about $1.3 million through its annual fund and special projects, with 57 percent of it from local, state and federal government sources.

The Arts Council serves 400,000 visitors and program participants a year, over 1,500 artists, and over 60 arts organizations through arts classes; artist residencies in schools; exhibitions; festivals; grant programs for arts organizations and artists; technical support and training; arts advocacy; creative economy initiatives such as research and development of an arts district; and information services.

Arts directory

Nonprofit arts and cultural organizations in Durham represent an economic engine: According to the most recent data, from five years ago, the combined economic impact of those organizations totals $125.5 million.

Connecting those organizations with one another, with the artists they depend on, with the public, and with anyone wanting to connect with the arts will be the focus of the new arts business directory that the Arts Council will develop with $17,000 from the Biddle Foundation grant.

Expected to be launched by late summer 2017 with an initial database of 300 artists and 80 arts organizations, the directory will be the only local, non-membership-based, publicly-accessible directory of artists and arts organizations in the Triangle.

The Arts Council has opted to use a database from Artsopolis selected by local arts councils in cities like Charlotte, Memphis, Houston and Fort Lauderdale. It will allow artists and arts groups to create their own profiles and keep them up to date, and for the general public to find them.

The Arts Council plans to promote the directory to the arts community, and provide orientation sessions on how to use it, along with help in uploading profiles. It also plans to promote the directory to the public and to specialized sectors once artists and arts groups have begun to create their profiles.

And the Arts Council will cross-link its directory with durhamculture.com, the arts calendar maintained by the Durham Convention and Visitors Bureau.

Emerging artist grants

Every year, based on over 110 applications it receives, the Arts Council awards 15 to 16 grants for mid-career development projects to individual arts in Durham, Chatham, Orange, Granville and Person counties.

Inspired by the late Durham philanthropists James and Mary Semans, founding trustees of the Biddle Foundation and launched in 1984 in partnership with the North Carolina Arts Council and the Foundation, the emerging artists grant program has awarded 500 grants totaling $553,000.

That grant program served as a model for the development of grant programs for local artists by local arts councils throughout the state in partnership with the state Arts Council.

Continuing its long-term support for the Durham emerging artists grant program, the Biddle Foundation this year again is contributing $8,000.

The artist grants represent our “belief and investment in individual artists,” says Margaret DeMott, director of artist services for the Arts Council.

The grants also provide recognition and validation that artists can use to secure other funding, and expand their range of opportunities and their networks of professional connections, she says.

Artists typically use the funds for needs ranging from attending conferences, buying materials and equipment, and conducting research to securing larger studio space, creating new art and increasing their visibility.

Arts capital

Building on its reputation for higher education, medicine and, more recently, food, Durham has long been a magnet for art and artists.

As Durham’s arts community continues to grow, the Arts Council is helping to spearhead initiatives designed to build that community and make it more accessible.

In partnership with Americans for the Arts, for example, it is just beginning a study — conducted every five years — of the local economic impact of the arts.

In cooperation with North Carolina Arts Council and City of Durham, it is working on the creation of an arts-and-entertainment corridor — a $10 million, 10-year initiative known as Durham SmArt — that will run south to north along Blackwell, Corcoran and Foster streets.

To begin to put the project into place, the Durham Arts Council last May was awarded a $100,000 grant from the National Endowment for the Arts.

The Arts Council is focusing “on building the reputation and excitement of Durham as an arts and cultural center,” DeVries says. “It’s our desire to create more recognition and more visibility for the arts sector as a whole.”

Getting South Bronx kids in tune for success

[Note: This was written for The Mary Duke Biddle Foundation.]

BRONX, N.Y. — Giving more at-risk children in the South Bronx hope and a better chance to succeed in school and life is the focus of a $25,000 grant to UpBeat NYC, a local nonprofit that provides free music training and orchestral instruction for kids in the Mott Haven neighborhood.

Founded in 2009 by a family of New York City musicians and operating in a public library and two churches, the nonprofit this year will serve 150 children, teens and young adults ages five to 21, as well as 10 to 15 parents and infants.

“A music program accessible to everyone in a community gives children and youth an opportunity to see the potential in their lives, shows them they have the ability to do whatever they set their minds to, and gives them a taste of creating beauty in a group through hard work,” says Liza Austria, executive director and co-founder of UpBeat NYC.

Mimi O’Brien, executive director of The Mary Duke Biddle Foundation in Durham, N.C., which awarded the grant, says learning to play an instrument and perform in an orchestra “can help children in economically distressed neighborhoods overcome the challenges of low expectations and build the skills, confidence and teamwork that will help them thrive.”

This grant is made as part of the foundation’s celebration of its 60th anniversary. “Mary Duke Biddle, my great-grandmother, lived part of her life in New York City. She wanted her foundation to support programs in that city, and the board takes great care to meet her expectation,” said Jon Zeljo, chair of the board of trustees.

Making music

UpBeat NYC was inspired by El Sistema, an effort that began in 1975 in the slums of Caracas, Venezuela, and now reaches millions of students throughout the world, including hundreds of thousands in Venezuela and 30,000 in 120 communities in the U.S.

Founded by Austria, a singer and dancer, and her husband, Richard Miller, a jazz saxophonist, UpBeat NYC operates with an annual budget of $200,000, and a paid staff of one person working full-time and one working part-time, as well as nine teachers who work on an hourly basis several times a week under contract, and seven volunteer instructors.

Children enroll on a first-come, first-served basis, with no auditions. Most students begin in a pre-orchestra class, learning basic music theory, not an instrument, and participating in a choir.

Next, students take classes that focus on a particular instrument like a violin or clarinet and how they work, followed by classes in which the students are part of a group receiving instruction on how to play a real instrument. Then, they become part of a string or wind orchestra. Eventually, they join an advanced orchestra that combines string, wind and percussion instruments.

Using some of the funds from the Biddle Foundation, UpBeat NYC will begin a new track for brass and woodwind instruments, and for percussion, beginning with pre-orchestra instrument instruction. The organization in the past has offered wind and percussion opportunities at the orchestra level only.

The new track will include a wind-instrument initiation class and then separate classes for clarinet, trumpet, trombone and percussion.

With 50 more students beginning to learn those instruments this year, UpBeat NYC  plans within the next year to form an intermediate orchestra, and then plans the following year to form a beginner orchestra.

This fall, UpBeat NYC also will begin a new class to initiate infants and parents into the world of music. The organization already offers a choir for parents.

It will use the remainder of the Biddle funds to buy new instruments and music supplies, and support its operations.

Music to thrive

For years, UpBeat NYC has taught classes for advanced wind and percussion players, who have shown significant musical and personal progress. They and their parents report that learning to play an instrument in a group with their peers heightens and improves students’ motivation, and helps build their confidence, self-awareness, capacity to focus, empathy, emotional stability and academic achievement.

“We believe that all children are innately musical,” Austria says.

Tapping that natural talent is critical in a community with failing schools, a scarcity of quality programs during periods when children are not in school, and a bleak outlook among families for the education, well-being and future of their children.

Looming over children in the community are ever-present dangers and negative influences. Local rates of teen pregnancy and juvenile criminality are high, and more than half the children live in poverty.

“All our activities are designed to address the root causes of the social exclusion and isolation of children in the South Bronx,” Austria says.

Those causes include the lack of positive social activities open to everyone, social acceptance of low achievement, and the absence of opportunities to pursue challenging, long-term endeavors that promote personal growth and change.

“Music can play a powerful role in preparing children to shape their own lives and become agents of improving their community,” Austria says. “Through long-term musical training and experience in performing, our students develop the patience and persistence required to excel as individuals and to learn to contribute as supporters and leaders in the context of collaborative music-making.”

El Sistema

UpBeat NYC has plugged into El Sistema and its network of programs in the U.S.

The organization collaborates on student workshops and shares best practices with four other El Sistema-inspired programs that serve Manhattan, Queens and Brooklyn, where UpBeat NYC initially was launched.

In the summer of 2015, it took 34 of its students to Caracas to take lessons and perform with their counterparts in El Sistema’s main orchestra there, while some of its teachers participated in teacher training.

Teaching artists from El Sistema in Venezuela have visited UpBeat NYC to work with its students and provide training for its teachers, some of whom plan another visit Venezuela to receiving more training.

And this summer, five of its students participated at Bard College in the National Take A Stand Festival of El Sistema USA.

Family affair

As struggling artists living and working in New York City, Austria and Miller saw a big gap between the cultural opportunities within their reach and the lack of options for children living in poverty. And her family helped her see the need to create opportunities for at-risk kids.

Austria’s mother, a long-time New York City public school teacher who taught her to play piano as a young child, had long been concerned about budget cuts for arts education and the growing emphasis on testing. Austria’s older brother Ruben Austria, also a musician, is executive director of Community Connections for Youth, a South Bronx nonprofit that provides alternatives to incarceration for youth.

So when her late father, classical bassist Jamie Suarez Austria, learned about El Sistema and its impact in helping children throughout the world lift themselves out of poverty, he inspired Austria and Miller to launch UpBeat NYC.

Austria works on a pro-bono basis. Miller is one of the organization’s two paid employees. Her younger brother John Austria, formerly a volunteer instructor, is a paid instructor. And her mother, Christine Austria, is a volunteer instructor.

While UpBeat NYC still is a small organization, the Biddle grant will allow it to continue to grow from its startup in a storefront in the Bedford-Stuyvesant neighborhood in Brooklyn.

“My father’s passion about El Sistema showed us a model for this kind of work,” Austria says. “For my family, after my father died in 2010 from lung cancer, we continued to do this work and grow it. We’re a little in awe sometimes by how far this has come.”

Biddle Foundation grants celebrate 60 years of impact

[Note: This was written for The Mary Duke Biddle Foundation.]

DURHAM, N.C. — On September 14, 1956, when Mary Duke Biddle established her philanthropic foundation, inspiring the foundation’s mission were lessons she had learned growing up in a family that believed in supporting causes and communities it cared about.

So she decided her new philanthropy would focus on making modest gifts that could multiply over time, providing access to education, enriching lives and communities through music and the arts, lifting up impoverished people through churches and congregations, and providing critical aid to communities.

In its first 60 years, The Mary Duke Biddle Foundation has awarded nearly $43 million to those causes in North Carolina, where Mrs. Biddle was born and raised, and in New York City, where she lived for 20 years as an adult before returning to Durham.

Now, to celebrate its 60th anniversary, the Foundation has awarded five special grants totaling $125,000 to support efforts in North Carolina and New York City to boost the arts and arts education, to use orchestral training to equip more underserved kids to thrive, and to prepare more at-risk kids to succeed in school and life.

“The philanthropic legacy of Mary Duke Biddle continues to advance the arts and improve the lives of youth, particularly those who are less advantaged, in the communities she loved,” says Mimi O’Brien, executive director of the Foundation.

Making an impact

The five special grants — $25,000 each to the Durham Arts Council, Kidznotes and StudentU, all in Durham; the Asheville Art Museum; and UpBeat NYC in the South Bronx — are designed to have a bigger impact on individual organizations and the people they serve. These awards are made in addition to the Foundation’s regular annual giving, including approximately 40 grants of $5,000 each in response to requests from nonprofits in North Carolina and New York City.

“Arts and youth education remain critical, ongoing needs in our community,” O’Brien says. “These special grants represent an investment to help innovative nonprofits make an even bigger difference expanding the impact of the arts and creating opportunities for young people to succeed.”

With the help of the five grants:

* Durham Arts Council will develop an online arts directory and continue to invest in

career development for emerging artists, underscoring Durham’s growing reputation as a hub for the arts.

* Kidznotes will use orchestral training to equip more underserved students to succeed in school and life, continue its expansion into economically-distressed Southeast Raleigh, and consider expanding to other parts of the Triangle region.

* StudentU will prepare more kids in Durham to graduate from high school, enroll in college and graduate, and then find ways to help their peers succeed in school and life.

* The Asheville Art Museum will provide access to arts education and activities to more underserved children in Asheville, Buncombe County and three rural counties in Western North Carolina.

* UpBeat NYC will provide free music training and orchestral instruction to more at- risk children in the South Bronx, along with hope for the future and a better chance to succeed in school and life.

Philanthropic legacy

Mary Duke Biddle, the daughter of Benjamin Newton Duke and granddaughter of Washington Duke, attended public schools in Durham, and in 1907 graduated from Trinity College, now Duke University.

Her father and uncle, James B. Duke, using wealth generated from tobacco, textile and electric power industries they developed in North Carolina in the late nineteenth and early twentieth centuries, gave generously to their community and became known for their philanthropy. Both were benefactors of Durham’s Trinity College, and in 1924, through the newly chartered Duke Endowment, the college was named Duke University in honor of their father.

In establishing her own Foundation, Mary Duke Biddle designated that half the grant funding would go to Duke University, with the rest going to non-profit organizations that support a variety of causes in North Carolina and New York.

Mary Duke Biddle died in 1960 at age 73. For many years, the Foundation was led by her daughter, the late Mary Duke Biddle Trent Semans, and her husband, the late James H. Semans, M.D.

“The Biddle Foundation continues its legacy of making the communities we serve Jbetter places to live and work,” says Jon Zeljo, chair of the Foundation’s board of trustees and great-grandson of Mary Duke Biddle. “We invest in programs that expand opportunities for everyone, connect and inspire diverse populations, and give people in need tools and hope for the future.”

Model for future funding

Including grants to organizations such as Duke University that it has funded for many years through long-standing relationships, the Foundation typically makes nearly $1 million in grants a year.

With an endowment of about $30 million, the Foundation continues to focus its funding on the arts and youth education, particularly in collaborative efforts that serve less advantaged populations.

The Foundation is using its 60th anniversary to examine how its grantmaking practices and programs can be more impactful to the organizations and causes it supports.

In addition to support for Duke and to grants it makes in response to applications, organizations the Foundation funds through long-standing relationships include, among others, the University of North Carolina School of the Arts; Durham Arts Council; American Dance Festival; Chamber Orchestra of the Triangle; and Full Frame Documentary Film Festival.

Arts groups aim to increase access

By Todd Cohen

[Note: This was written for Triangle Community Foundation.]

DURHAM, N.C. — Art of Cool Project, a Durham nonprofit formed in 2011 to provide jazz and build an audience for it, wants a physical home and a way to expand its audience, build its donor base and find corporate sponsors.

American Dance Festival, which also is in Durham and is celebrating its 82nd season this summer, wants to establish a year-long presence and know more about its audience.

Artsplosure, a Raleigh nonprofit that for nearly four decades has produced big arts festivals each year and worked to promote the arts, also wants to know more about its audience, and to host first-time events and performances.

And 14-year-old Deep Dish Theater Company, which stages four shows a year in a storefront at University Mall in Chapel Hill that seats 70 people, wants new space that can handle constantly-changing programs and will attract a steady flow of visitors.

Key to making the arts and culture more accessible in the Triangle, representatives of all four groups told the Triangle Donors Forum on April 14, are capacity-building and technical support for small and mid-sized arts organizations, as well as collaboration among them.

Economic driver

The arts are big business and big contributors to the economy and the health of local communities, Lori O’Keefe, president of Triangle Community Foundation and moderator of the panel, told several dozen guests at the Donors Forum, which was hosted Foundation and held at the Carolina Theater in Durham.

Sixty percent of employees in North Carolina work in the arts or creative industries, which generated $22 billion in revenue for the state in 2014, O’Keefe said.

“This is real work for our region and for our state, with real people working real jobs in the arts, and the majority of those jobs are in the nonprofit sector,” she said.

Arts offerings contribute to the health of downtowns and communities, and can have a big impact on the way children learn, O’Keefe said.

“Immersion in art has such a ripple effect on how a child can be set up for success later in life,” she said.

Arts and culture represent an important focus of grantmaking at the foundation, which last year granted nearly $2 million to organizations that support arts and culture in the region and beyond, O’Keefe said.

Providing leadership in building the cultural identity of the Triangle also is a focus — along with building the capacity of groups that address youth literacy and community development, and supporting environmental conservation programs — of a “People and Places” program the Foundation launched last year.

Yet while larger arts institutions in the region may seem to find it easier to sustain themselves, O’Keefe said, smaller arts organizations faces challenges, including a lack of “ready-made venues,” lack of knowledge about how to use technology to attract audiences, and a business model that will sustain them.

Providing access

Adequate and appropriate space to perform and show art, and the accessibility of that space to a regional audience, are big challenges for smaller arts groups, members of the panel told the Donors Forum.

The Triangle, for example, lacks a “home” for jazz, a single space to house jazz performance, teaching, rehearsing and related activities, said Cicely Mitchell, president and co-founder of Art of Cool Project.

The idea that led to the founding of Art of Cool was to “provide space where we could help expand the audience for jazz,” she said. “It’s all about accessibility.”

Paul Frellick, artistic director of Deep Dish Theater Company, said that while ticket sales generate only about half of the funds it needs to operate, its capacity of only 70 seats makes it tough to attract corporate advertisers for its printed programs or corporate sponsors.

After operating in two locations at University Mall, he said, the troupe aims to find new space and move over the course of its next season.

Maintaining momentum

Arts groups like Artsplosure, Art of Cool and American Dance Festival that concentrate many of their activities into a few events or times during the year face the challenge of maintaining a presence or momentum throughout the year, panelists said.

Multiplying that challenge for an arts group can be a lack of data about its audience, a hurdle that many arts groups face.

Michael Lowder, executive director of Artsplosure, said venues in themselves can carry a brand that can “trump whoever the presenter is.”

The Artsplosure festival this year was moving to Fayetteville Street from Moore Square, he said.

Yet because Fayetteville Street has attracted both “great events and not-so-great events” and has only a “so-so brand,” he said, the move carried some risk.

“Nothing attracts a crowd like a crowd,” he said.

To help promote and market itself throughout the year, he said, Artsplosure has made aggressive use of social media such as Instagram and Facebook.

“We really try to maintain a relationship with our audience,” he said. Yet at Artsplosure, he said, “we really don’t know our audience.”

While 30,000 to 50,000 people attend the organization’s First Night activities, and 60,000 to 80,000 attend Artsplosure, less than one thousand attending those festivals actually fill out surveys about who they are, he said.

Artsplosure tries to communicate with the arts community through arts agencies, and through roughly 25 media outlets.

Still, Lowder said, maintaining a year-long presence and momentum “with who you perceive your audience to be” can be challenging.

Sarah Kondu, director of communications and marketing at American Dance Festival, said it performs at venues such as Durham Arts Center yet, because of a policy by intermediaries that sell tickets online, it can not get information on the people who buy tickets to its performances.

So knowing and communicating with its audiences is a “real struggle for us,” she said.

Mitchell, who suggested that venues do not share information on ticket buyers to protect their privacy, said that while Art of Cool has built an email list of people who attend its events, its marketing budget is small and so it relies on social media to reach its audience.

Showing value

O’Keefe, who worked as a fundraiser and arts administrator at performing arts institutions in California and New York City before joining Triangle Community Foundation in 2005, asked the panelists whether the new residents who have swelled the Triangle’s population recognize the value the arts add to the region’s quality of life and are “opening their pockets and engaging in ways other than just buying tickets.”

Mitchell said Art of Cool launched its festival last year entirely through a Kickstarter social-media campaign.

Tondu said modern dance is a “hard sell, even in larger cities,” and that American Dance Festival is “still trying to educate, to get people to give it a try.”

Frellick said that because tickets sales generate only about half the income Deep Dish Theater needs to operate, and because its limited seating capacity has made it tough to attract corporate sponsors, the company depends on individual donors and patrons to sustain it.

On the other hand, he said, when corporate giving fell after the economy crashed in 2008, Deep Dish was not as hard hit as some other organizations because it already lacked corporate support.

Lowder said Artsplosure six years ago saw a 60 percent spike in ticket sales for First Night, and asked a statistician to try to find out why.

The only correlation the statistician could find after looking at a broad range of indicators was that “the more we spend on art, the more tickets we sold,” Lowder said.

“We want to be perceived as an entry point, the gateway, to what others are doing,” he said. “It’s about the art we’re presenting, and presenting in an accessible way to encourage people to learn more and get involved.”

Making the arts accessible is important, he said, because of the “influx of people from all over the country with expectations about what sorts of art they’re going to find here.”

Capacity and collaboration

A big challenge for smaller and mid-sized arts groups is building their organizational “capacity,” panelists said.

Mitchell at Art of Cool said finding corporate support has been tough.

The group participated in a training program at the Durham Chamber of Commerce to learn how to ask companies for money, and was the only nonprofit in the program, she said.

“A lot of younger organizations would jump over the opportunity to have mentorship and camaraderie,” she said.

O’Keefe said a “big push” in the nonprofit sector is for greater collaboration, and “the arts tend to be on the forefront of this, using statistics, data, having a revenue producing model.”

Through tickets and products, “the arts have always had,” she said. “The arts, particularly in the Triangle, are constantly thinking about ways to work together to raise each other up.”