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Organization DBA The Dance Complex
Former Names --
Organization received a competitive grant from the Boston Foundation in the past five years Yes

Summary

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Mission StatementMORE »

The Dance Complex supports the creation, study, and performance of dance. We sustain artists, audiences, and the community. We foster, cultivate and celebrate the role of dance as a vital form for expression, creation, inquiry and building community.

The Dance Complex incorporated as a non profit 25 years ago, securing the purchase of a historic building in Central Square as home, housing seven studios and performance spaces, a unique artist-centered business model, offering classes, workshops, performances. Today, the organization is a vital leader in dance regionally and in dialogue with the field of dance nationally. 

Mission Statement

The Dance Complex supports the creation, study, and performance of dance. We sustain artists, audiences, and the community. We foster, cultivate and celebrate the role of dance as a vital form for expression, creation, inquiry and building community.

The Dance Complex incorporated as a non profit 25 years ago, securing the purchase of a historic building in Central Square as home, housing seven studios and performance spaces, a unique artist-centered business model, offering classes, workshops, performances. Today, the organization is a vital leader in dance regionally and in dialogue with the field of dance nationally. 


FinancialsMORE »

Fiscal Year July 01, 2015 to June 30, 2016
Projected Income $670,575.00
Projected Expense $597,708.00

ProgramsMORE »

  • 1. Subsidized Studio & Performance Space
  • 2. Festivals: Summer, Winter, Family
  • 3. Dance For All Initiative
  • 4. Dance-Making Creative Laboratories/Residencies
  • 5. The Dance Complex Performance Series

Revenue vs. Expense ($000s)

Expense Breakdown 2014 (%)

Expense Breakdown 2013 (%)

Expense Breakdown 2012 (%)

For more details regarding the organization's financial information, select the financial tab and review available comments.


Overview

Mission Statement

The Dance Complex supports the creation, study, and performance of dance. We sustain artists, audiences, and the community. We foster, cultivate and celebrate the role of dance as a vital form for expression, creation, inquiry and building community.

The Dance Complex incorporated as a non profit 25 years ago, securing the purchase of a historic building in Central Square as home, housing seven studios and performance spaces, a unique artist-centered business model, offering classes, workshops, performances. Today, the organization is a vital leader in dance regionally and in dialogue with the field of dance nationally. 


Background Statement

Evolving from its early years beginning in 1991, The Dance Complex has become a regional center for dance and movement arts, serving a multicultural spectrum of dance genres to a wide and authentically diverse population. In 1991, several professional dance artists, led by founder Rozann Kraus, secured the rights to inhabit the Odd Fellows Hall in Central Square, Cambridge. Through the combined efforts of the dance community, the City of Cambridge and the Central Square Business Association, the building was purchased. For over two decades, The DC has responded to the needs of dance students, audiences and artists. 

Weekly, over 60 teachers representing more than 20 countries teach classes and conduct workshops in wide variety of movement art forms, including concert forms as well as folkloric; dance artists in "research and development" mode rehearse  in our studios; and international as well as local artists perform in our spaces. Visitors each week, ages 3 to 90's, from city, suburb and 3 states, number an average of 1400 weekly. Professional dancers and non-professionals alike take class in the seven studios that comprise the Complex, engaging in their own "next step" in dance. The teaching artists are adept at teaching multiple levels and intents in one room, allowing an "adapt/adopt" model of learning.  The original business model placed a minimum of administration on top, with multiple opportunities for individual artists to economically rent space in the building, placing monetary gain in the hands of artists, and keeping prices low for students. The DC continues to charge below market rate rental to its renting teachers and companies (18-25% lower than average), creating a program of subsidized rental. These lower rates also apply to rentals for the theatre spaces, the Julie Ince Thompson Theatre and the new, flexible Studio 7 at street level. In addition to the subsidizing of space for artists, DC sponsored programs, include several professional development "labs" for dance artists  -  aMaSSiT (a Make it/Share it/Show it) Creative Mentoring Lab; the I-ARE (Integrated Artists Residency Exchange) Program; and CATALYSTS residency into performance - grant space and other supports. Performance Series have been revitalized with productions 40 weeks of the year including student, professional, local and touring projects. 
 

Impact Statement

Within this past year, The Dance Complex has 1. completed an overhaul of its financial accounting systems, aligning into one set of QuikBooks, bringing the building, the business/programming and our auditors records together. This effort enabled better accuracy, and enables us to receive funding from new sources due to our ability to translate our financial story more accurately; 2. We created a third tier of choreographers' residency/development program, CATALYSTS, gifting promising choreographers hundreds of hours of space to make new work and produce it over three weekends in our theatre. This effort resulted in five new works of choreography, deepened by process to performance support, newspaper reviews, and  increased value for the work; 3. We created programming for new populations in dance: partnering with Mass General Hospital on movement classes for those affected by Parkinson's; we created family-focused festival programming over multiple weekends.  For the coming year: We will forge new territory in Communications, bringing a new website, social media that will bring together our multi-faceted offerings; 2. The DC will engage new audiences around performances with pre- and post-show events aimed at de-mystifying dance. These may include dance and other forms- architecture, culinary arts, sports, for instance- revealed in counterpoint and attracting multiple interests; 3. The Dance Complex will celebrate its 25th year, utilizing a lens on our on-going activities, asking of ourselves and participants, "How do we grow dance in the coming 25 years?", as well as creating landmark celebrations with local partners (Cambridge Arts, the City of Cambridge, others); 4. We will organize our goals with the completion and delivery of an in-process strategic plan, that will support these and other goals, including plans for upgrades in technical theatre production and the physical plant that contains our studios, our 1884 built former Odd Fellows Hall.

Needs Statement

Our needs at The Dance Complex include: 1. A strong Board structure that can be inclusive of community voices, evolutionary business practices/systems and of key connections and support beyond the arts;  
2. An approach to development that is multi-sourced with solid tracking/reporting systems;
 (these first two, supported by arts consultants, training and time $75k)
3. Support for our landmark status132-year old building that brings it to 21st century definitions of safe and efficient use, with accessibility a major issue, including ADA/elevator and other upgrades to theatre spaces; (feasibility studies under way, unknown exact amounts until studies complete- seeking a 5 -15 year plan; a first phase could be attained for 500k)
4. Communications/branding/translating who/what The Dance Complex is to potential audiences/participants (6 months consultant; 12 months manager $80k);
 5. Security for entry/usage to accommodate our changing times and neighborhood- code entry, swipe system ($40k).  

CEO Statement

The intimate relationship between this building and those who have danced in it is very unique. As the building became The DC, a sense of "place" became embedded: This is where movement has a home. I traveled the world as a dance artist for MacArthur "genius" award winner Liz Lerman, experiencing community and professional centers of dance world-wide. The DC is rare in its make-up, equally a home to professional AND recreational/community-centric dance of multiple genres: flamenco to ballet, social styles to modern, Hip Hop to contact improvisation. The participation of old, young, white, black, all incomes, city and suburban naturally integrates within each class or workshop, moving beyond the separations one might find in communities beyond our walls. Through valiant efforts over 2 plus decades, we offered a sturdy home for all who dance. Truly, I am inspired by what was built here- a dance building building dance for all.
When I returned in 2013 to run The DC, the board and I felt that it was time for reflection. Little had changed in The DC's approach to fundraising and marketing since the 90's, while The DC's teaching and student populations aged and the  2000's age of the internet created vast distractions for potential participants in dance. Still, income and savings were stable. Wouldn't it be responsible of us to seize the moment, and ask: How can The DC move beyond mere existence and become a catalyst for more dimensional relationships within and among its current community and beyond? How could The DC become a dance building that builds dance now, in the 21st century?  To that end, and through the good support of The Barr Foundation, we have entered into a strategic plan to help us focus the immediate efforts we made in 2012/14 in streamlining financial systems, the beginnings of curating content for classes, and approaching performances in our space with an eye to grooming artists to make deeper work, and produce it better. The strategic plan will be finished in late summer/early fall. Early indicators predict we have taken good initial steps and are helping us dream big and act responsibly, especially in regards to the theatre's technical needs and the building's capital needs. A major shift for us has been the reaching out to funding partners, other non-profits, arts organizations locally, regionally and nationally: we get better at what we do through dialogue, through awareness that, while unique, we are certainly in need of learning from colleagues near and far. We know that growing the dance field allows us to grow.
 

Board Chair Statement

Early in my relationship to The Dance Complex, I knew I had found a home. As a younger dancer new to Boston, I joined the organization’s Work Study Exchange program, cleaning the building before it opened to the public. In exchange, I received free classes, just as those currently enrolled in the program do. Thirteen years later, I have retained a Saturday morning ritual shift. The reward now includes the sustaining joy I feel in greeting the community of dancers- old, young, all skills levels, all backgrounds – who are gathered outside when our big red doors open. I have seen tremendous improvements in the reach of the organization, in efforts to advance the practice, production, and performance of dance of all kinds. Our successes and challenges are, as I believe they are for most non-profits, intertwined: successes shift an organization and its people, creating possibility; new possibilities create challenges not within our previous perspective. From my view as Board Chair, I see these successes and challenges to include: accessibility, fundraising, and infrastructure. I offer some highlights of these below.

Accessibility - Success: we have finished renovations on a completely accessible street level multi-functional event, rehearsal, and performance space removing barriers literally for dancers of all abilities and more metaphorically, in the placing of dance experienced at eye level through a glass portal, inviting the community.Challenge: this idea of access to dance becomes part of our strategic planning: who does have access to dance, at The Dance Complex? Are there barriers that have less to do with architecture and more to do with permission? Who is not part of our community who should be?

Fundraising/Resources - Success: When I came on the Board in 2012, a goal was to actively fundraise. Subsequently we have hosted 6 fundraising campaigns – the first bringing in $3,000 from 66 donors to our most recent bringing in $38,000 from 257 donors. Under the leadership of Peter DiMuro since 2013, our grants received have blossomed with numerous firsts: the Barr Foundation’s $500k gift; the organization’s first award from the New England Foundation for the Arts; andBloomberg Philanthropies’ AIM Grant; continuing support from Cambridge Arts and from Massachusetts Cultural Council.

Challenge: How do we build value for sustained giving, and engage our supporters to be consistent? How do we build our donor base from beyond those related to the building?

Infrastructure and leadership - Success: Over three years ago, a “Call to Action” initiative created by the dance community resulted in a national search for an Executive Director, which brought us Peter DiMuro, an artist and arts administrator with a national reputation, in addition to a reinvigorated Board of Directors. Recent additions to staff include new positions: Engagement and Education Manager and Operations and Finance Manager. Challenges: We’ve identified the need for dedicated staff in other areas- communications, production, data compilation. How do we grow our staff responsibly, ensuring a solid if incremental build toward full capacity?


Geographic Area Served

In a specific U.S. city, cities, state(s) and/or region.
GREATER BOSTON REGION, MA
While deeply rooted in it Central Square location, The Dance Complex community is diverse: the organization serves the neighborhood with all ages and income brackets using the building; audience and students also come from farther flung tri-state area (RI, NH, MA); and for specific workshops intensives and festivals, we pull participants from throughout New England and the East Coast, and internationally for faculty and performers in our performance series.  

Organization Categories

  1. Arts,Culture & Humanities - Performing Arts Centers
  2. -
  3. -

Independent research has been conducted on this organization's theory of change or on the effectiveness of this organization's program(s)

No

Programs

1. Subsidized Studio & Performance Space

Built into its rental structure, The DC provides lower than market value rental to its 7 studios for teaching, rehearsal and performance spaces throughout the year, with discounted rates of 18-25%. This model allows artists to reap profit (vs. paying in a "per head" model). Per agreement with us, class entry fees and ticket prices are also kept lower than average, passing off savings to dance students and audiences.
Budget  $125,000.00
Category  Arts, Culture & Humanities, General/Other Dance
Population Served Adults Adolescents Only (13-19 years) Children and Youth (0 - 19 years)
Program Short-Term Success  Success will be seen that classes are continually held and are populated with at last 5 students each; some already number in the dozens
Program Long-Term Success  In place for over 20 years, subsidized space at The DC has proven successful, with space in high demand, very little turnover/rotation in permanent class offerings. The dance community has committed to ongoing rentals and their profits keep them invested in the building.
Program Success Monitored By  tracking class attendance
Examples of Program Success  twice each year, contracts renewed for class rental; we have a very hight return rate, with some season no teachers opting out of their rental. In renting performance space, we have increased steadily in the last three years the number of performance rentals from (2012) 8 t (2016) 24.

2. Festivals: Summer, Winter, Family

The DC produces 3 - 4 Festivals a year that include a range of free to low cost performances, open rehearsals, dialogues, classes and workshops, lasting from 3 days to 2 weeks: Summer Sizzle/August adds dance-study intensives to ongoing classes, along with informal performances; Winter Wonder/late December focuses on highlighting the array of genres and fusion-classes (Middle Eastern and Hip Hop, for instance) along with performances; The Festival of Us, You, We & Them/June & Nov, emphasis allows for family participation with  multiple free events, especially classes for on-going faculty and is open to other art forms blending with the existing dance, with theatre, visual arts and music most repeated visitors to the Fest of Us. Engagement with dance participants happens throughout the building and in front on our sidewalk within a temporary "arts patio".
Budget  $36,000.00
Category  Arts, Culture & Humanities, General/Other General Arts Funding
Population Served General/Unspecified Other Economic Level Families
Program Short-Term Success  Gathering names (through raffles, sign ins) with which to communicate is an immediate success, as is the dynamic in and around the building during our festival formats: people, excitement- tap dancers under a tent out front; music from Cheapo records draws more people. Recommitment of staff and teaching artists to our combined purposes.
Program Long-Term Success  Through data tracking, a return to the building post-festivals of individuals who first came to us for the festival; success would be at 15% within the first 9 months. 
Program Success Monitored By  We are data-tracking, as mentioned above, there are written surveys for participants who show up, ad hoc  as well as those planned. Debriefs on successes/changes or evolutions are conducted within two days of the end of the fests
Examples of Program Success  Renting teachers are overwhelmingly in favor of opportunities for open/free classes in their response surveys; new, first time visitors are a solid 40% during the festivals; validation/value for all concerned rises for the art form itself.. 

3. Dance For All Initiative

The DC has begun the first in a series of classes exploring dance accessibility, inspired by its new street-level space, Studio 7, which has made the building truly accessible for those who cannot easily access the upper floors of the building. The first of these initiatives is an 8 weeks introductory series, in partnership with Mass General Hospital/Department of Neurology, providing dance classes to those immediately effected by Parkinson's Disease and their care-givers. Plans include adding other classes series into the initiative as we develop colleague partnerships, that might include intergenerational populations, LGTBQ populations, an all-abilities repertory (making a performance work with participants). 
Budget  $70,000.00
Category  Arts, Culture & Humanities, General/Other Dance
Population Served Families Lesbian, Gays, Bisexuals, Transgendered People/Families with of People with Disabilities
Program Short-Term Success 
For Parkinsons: attendance record- even showing up a success, due to fears/anxieties; increased balance, mobility; 
video interviews and video documentation of movement.   
Program Long-Term Success  success will vary per population, but generally: mobility increase, community built, identity nurtured; continued participation beyond initial group seen as success.
Program Success Monitored By  Video and interview documentation, surveys; 
Examples of Program Success  Program is new; current cohort is doing well, with consistent attendance.

4. Dance-Making Creative Laboratories/Residencies

The DC has evolved into offering a a tiered choreographic development program, creating 3 levels of engagement for the development of choreographic  works, with each level offering a range of studio hours free of charge: a. aMaSSiT- a Make it, Share it, Show it- Creative Lab is a tools course helping participants develop their own "tool box" to create dance, guided by facilitators using the Critical Response Process developed by Liz Lerman; b. I-ARE - Integrated Artists Residency Exchange Program gathers a cohort of 6- 8 artists to show and respond to each other's works-in-progress in monthly sessions over a 8 month period; upon successful completion, the artists are eligible for discounted theatre rental to present their work; c. CATALYSTS is a curated/invitational program, providing residency in the use of rehearsal studios and in performance; artists are provided 100 hours of studio space and a 3 week performance run in repertory with other CATALYSTS artists
Budget  $40,000.00
Category  Arts, Culture & Humanities, General/Other Dance
Population Served Adults Adults Adults
Program Short-Term Success  Short term success will include 3/4 of the participants being fluent in Critical Response Process; 3/4 utilizing the free studio hours allowed in each tier (10 - 100 hours per program per participant)
Program Long-Term Success  This three tiered approach offers artists place to grow in the dance "ecology" of the region, providing them tools, and means to develop a practice on dialogue. Success would be characterized by artists graduating from the program and being accepted to the next "level" of residencies in beyond or within the region, including sister programs at Boston Center for the Arts. Other successes would be reviews for the CATALYSTS works- even the attaining of the reviews brings critical eyes to the work; success might mean re-vamping the program in 4 - 5 years as artists in the region learn successfully to dialogue about their work, not needing the practice these tiers offer. 
Program Success Monitored By  We use surveys for all programs; since the programs are iterative, dialogue continues throughout and beyond completion.
Examples of Program Success  each tier has had its own successes: more studio hours being utilized; several aMaSSiT level participants moving through the chain of the three levels, and others returning to the aMaSSiT level to help them build practice; I-ARE artists using the theatre discount, and both I-ARE and CATALYST artists being accepted to BCA artists residencies.

5. The Dance Complex Performance Series

In the last three years, the Performance Series has emerged with an eye toward programming that gives opportunity for professional dancers/productions as well as students, with The DC  learning to frame the performance experience for audiences. Works are often shown in the 100-seat theatre Julie Ince Thompson Theatre, but one can find dance "on tour" throughout the building and in our new, street level storefront multi-purpose space. Modern dance lives alongside tap, flamenco, Hip Hop in evening length concerts and also in repertory concerts; inter/national artists appear on the series as do local artists. Our role is as presenter most often, although we full on produce our own in-house productions. As presenter, we offer a rental and/or split of house financial arrangement, with the artist responsible for all artistic personnel, design, etc. In a producer role, we are responsible for all artistic elements that encase the production, paying an honorarium to the artists involved.
Budget  $75,000.00
Category  Arts, Culture & Humanities, General/Other Performing Arts
Population Served Adults College Aged (18-26 years) K-12 (5-19 years)
Program Short-Term Success  Short term success would be an increase in attendance; an increase in hits on social media; and a post-show retaining of audience to stay and talk informally with the artists. 
Program Long-Term Success  Long term success would include subscription ticket buyers, providing repeat visits to see dance/performance in our space; consistent/recognized groups engaging with the dance as well as pre or post show dance dialogues
Program Success Monitored By  surveys are offered to audiences; participation numbers in pre and post show discussions; numbers of those attending .
Examples of Program Success  Our efforts to make dance an engaged experience- with a pre-show "holding" area, where patrons can buy a beer or glass of wine, meet the artist in a semi-green room (theater lingo for where artists hangout backstage) has been very popular. Our tickets sales are generally up in this current season from the previous season. 

CEO/Executive Director/Board Comments

In regards to programming and generally, our opportunities provide us an evolving set of challenges: we dream big at The DC! But these dreams are anchored in the intersection of growing the dance field and the examples of evolutionary practices from around the country, as well as the unique nature of the greater Boston community and culture, specifically of Cambridge- the roots of our existence. While we feel our programming is solid, dimensional and responsive to the community, we feel limited by our current expertise and capacity in Communications and Development.
Our diverse programming- from classes to performance to community engagement - all deserve a unique but comprehensive communications strategy. Our challenge is how to translate all that we do on limited staff hours and communications expertise? Consultants will help us this coming year to help us set a system we can grow with, considering our strategic plans' results coming due in September.
 
Likewise in Development: While we have grown foundation and individual giving, we have not the capacity  - or systems- to delve deeply into corporate giving. We are working strategically to invest our monies wisely and in a calendar frame that scaffolds opportunities to best effect. 
 

Management


CEO/Executive Director Mr. Peter J. DiMuro
CEO Term Start June 2013
CEO Email [email protected]
CEO Experience

Peter DiMuro has woven a career as a choreographer, director, teacher, arts practitioner, community engager, administrator and performer. He became Executive Director of The Dance Complex in 2013, returning to Boston after twenty years touring the world from a base in Washington, DC. Peter has balanced the administration of arts endeavors with the creation of the art throughout his career.
 
Notable experience includes:Director, Dance/MetroDC, a branch of Dance/USA, the national service organization for dance. Peter shepherded the organization to its own non-profit status separate of Dance/USA.
 
Artistic Director, Liz Lerman Dance Exchange, the company founded by MacArthur "Genius" award winner Liz Lerman. Holding several roles over 15 years as a collaborating artist including performer, choreographer and then artistic director, Peter led tours internationally, specializing in long term projects in dialogue with community.
 
His own dance/theatre works often highlight the lives of those in the LGTBQ community, elder populations and those with disabilities. His work has appeared internationally for over 20 years. He teaches within the professional dance community as often as he teaches in corporate, community, health settings. Peter is grateful for previous support from the National Endowment for the Arts, the National Performance Network, and, more recently, from the Boston Dance Alliance Residency and Retreat Fellowship; the Mayor’s Office of Boston/Cultural Affairs designation as an Artist in Residence for the city. His company, Peter DiMuro/ Public Displays of Motion is one of three dance companies chosen to be an artist resident at Boston Center for the Arts, beginning a multi-year residency in 2016.
He received an MFA in Dance from Connecticut College under Martha Myers; a BFA in Theatre from Drake University, with early study with Sally Garfield and Gerri Houlihan, and continued study in New York, Boston and at the American Dance Festival.

Co-CEO --
Co-CEO Term Start --
Co-CEO Email --
Co-CEO Experience --

Former CEOs and Terms

Name Start End
Ms. Billie Jo Joy Jan 2012 June 2012
Ms. Rozann Kraus Sept 1991 Dec 2012

Senior Staff

Name Title Experience/Biography
-- -- --

Awards

Award Awarding Organization Year
-- -- --

Affiliations

Affiliation Year
-- --
Member of state association of nonprofits? No
Name of state association --

External Assessments and Accreditations

External Assessment or Accreditation Year
-- --

Collaborations

--

CEO/Executive Director/Board Comments

As a historically artist-led organization, The Dance Complex has prided itself on employing working artists as staff. In its passionate past, and without large budgets, this model served many non-profits like The DC well. And there is a precedence nationally for arts leaders adopting alternative business models successfully. As we have grown, especially within the last 3 years, it is responsible of us to reevaluate the organization's needs. While our budget is still modest, we have made the investment within the last few weeks of hiring an interim Operations and Financials Manager who, while possessing a background in the arts is also a certified public accountant. We felt this a necessary step on providing a consistency of administrative practice, financial knowledge. Within the last year we have increased staff hours to the minimum of 3/4 time (up from 15 - 20 hours p/week); this has allowed a deeper bench, no turnover in these key positions. Growth, again, is an opportunity and a challenge: as we become a more mature organization that, by necessity and design does not want to congeal into a static institution, we need to find creative ways to be an arts leader. This will mean some difficult leave-takings, but it will also mean opportunities for dance, for our dance building that would not come to be otherwise. 

Foundation Comments

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Staff Information

Number of Full Time Staff 1
Number of Part Time Staff 6
Number of Volunteers 100
Number of Contract Staff 7
Staff Retention Rate % 100%

Staff Demographics

Ethnicity African American/Black: 1
Asian American/Pacific Islander: 0
Caucasian: 6
Hispanic/Latino: 0
Native American/American Indian: 0
Other: 0
Other (if specified): 0
Gender Female: 5
Male: 2
Not Specified 0

Plans & Policies

Organization has Fundraising Plan? Under Development
Organization has Strategic Plan? Under Development
Years Strategic Plan Considers N/A
Management Succession Plan Under Development
Business Continuity of Operations Plan No
Organization Policies And Procedures Under Development
Nondiscrimination Policy Under Development
Whistle Blower Policy No
Document Destruction Policy No
Directors and Officers Insurance Policy Yes
State Charitable Solicitations Permit No
State Registration --

Risk Management Provisions

--

Reporting and Evaluations

Management Reports to Board? Yes
CEO Formal Evaluation and Frequency Yes Bi-Annually
Senior Management Formal Evaluation and Frequency Yes Annually
Non Management Formal Evaluation and Frequency Yes Annually

Governance


Board Chair Ms. Mary McCarthy
Board Chair Company Affiliation Harvard University
Board Chair Term June 2014 -
Board Co-Chair Mr. William Parsons
Board Co-Chair Company Affiliation CEO, MaximalImage
Board Co-Chair Term June 2014 -

Board Members

Name Company Affiliations Status
Ms. Ann Brown Allen Boston University; Dance Artist Voting
Ms. Mary McCarthy Harvard University, Head Administrator, Physics; Voting
Mr. Christopher McHallam Esquire Private Practice Voting
Ms. Jayne Murphy The Dance Complex, Building Caretaker; Visual Artist Voting
Mr. William Parsons CEO, Maximalimage, Inc Voting

Constituent Board Members

Name Company Affiliations Status
-- -- --

Youth Board Members

Name Company Affiliations Status
-- -- --

Advisory Board Members

Name Company Affiliations Status
-- -- --

Board Demographics

Ethnicity African American/Black: 1
Asian American/Pacific Islander: 0
Caucasian: 4
Hispanic/Latino: 0
Native American/American Indian: 0
Other: 0
Other (if specified): 0
Gender Female: 3
Male: 2
Not Specified 0

Board Information

Board Term Lengths 2
Board Term Limits 3
Board Meeting Attendance % 88%
Written Board Selection Criteria Under Development
Written Conflict Of Interest Policy Under Development
Percentage of Monetary Contributions 100%
Percentage of In-Kind Contributions 100%
Constituency Includes Client Representation Yes

Standing Committees

  • Finance
  • Governance and Nominating

CEO/Executive Director/Board Comments

Like many non-profits coming of age- we are 24 years old this year - The DC experiences growing strains and pains in governance.  Between 2009- 2013, a rotation of different administration models as well as directors, in relationship to the founder, were tested. A revitalized board in 2012/13 with new members, with representation from the dance community was put in place. This newly committed board hired the executive director from a national search and has been in place for 3 years. The Board has had a successful arc of increased fundraising from individuals, 100% giving from the board, and participating in board retreats. For a new phase of development, it is anticipated that the board will need to adopt a new model, likely one that allows the work ethic of savvy, hard working members as well as those members new to the organization that can provide access to key corporate donors. Simultaneously, with our roots in community, we wish to respect and honor those voices in our future.  The challenge is being worked through presently by entertaining a model of three entities: Board of Directors, Circle of Trustees and an Advisory Board. Each of these three facets  accumulate to help us be responsible to the future of The DC.

Foundation Comments

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Financials


Revenue vs. Expense ($000s)

Expense Breakdown 2014 (%)

Expense Breakdown 2013 (%)

Expense Breakdown 2012 (%)

Fiscal Year July 01, 2015 to June 30, 2016
Projected Income $670,575.00
Projected Expense $597,708.00
Form 990s

2014 Form 990

2013 Form 990

2012 Form 990

Audit Documents

2015 Financial Statements

2014 Financial Statements

2013 Financial Statements

IRS Letter of Exemption

IRS Letter of Determination

Prior Three Years Total Revenue and Expense Totals

Fiscal Year 2014 2013 2012
Total Revenue $247,407 $235,371 $257,183
Total Expenses $273,535 $219,669 $235,003

Prior Three Years Revenue Sources

Fiscal Year 2014 2013 2012
Foundation and
Corporation Contributions
-- -- --
Government Contributions $20,252 $17,760 $6,500
    Federal -- -- --
    State -- -- --
    Local -- -- --
    Unspecified $20,252 $17,760 $6,500
Individual Contributions $0 $0 $6,734
Indirect Public Support $0 $0 $0
Earned Revenue $213,492 $209,822 $245,401
Investment Income, Net of Losses $13,663 $7,789 $-1,452
Membership Dues $0 $0 $0
Special Events $0 $0 $0
Revenue In-Kind -- -- --
Other $0 $0 $0

Prior Three Years Expense Allocations

Fiscal Year 2014 2013 2012
Program Expense $184,234 $160,952 $173,595
Administration Expense $89,301 $58,717 $61,408
Fundraising Expense $0 $0 $0
Payments to Affiliates -- -- --
Total Revenue/Total Expenses 0.90 1.07 1.09
Program Expense/Total Expenses 67% 73% 74%
Fundraising Expense/Contributed Revenue 0% 0% 0%

Prior Three Years Assets and Liabilities

Fiscal Year 2014 2013 2012
Total Assets $788,515 $814,765 $831,397
Current Assets $171,410 $176,160 $264,697
Long-Term Liabilities $0 $0 $0
Current Liabilities $434,382 $434,504 $466,838
Total Net Assets $354,133 $380,261 $364,559

Prior Three Years Top Three Funding Sources

Fiscal Year 2014 2013 2012
1st (Source and Amount) -- --
-- --
-- --
2nd (Source and Amount) -- --
-- --
-- --
3rd (Source and Amount) -- --
-- --
-- --

Financial Planning

Endowment Value --
Spending Policy Income Only
Percentage(If selected) --
Credit Line Yes
Reserve Fund No
How many months does reserve cover? --

Capital Campaign

Are you currently in a Capital Campaign? No
Capital Campaign Purpose --
Campaign Goal --
Capital Campaign Dates -
Capital Campaign Raised-to-Date Amount --
Capital Campaign Anticipated in Next 5 Years? Yes

Short Term Solvency

Fiscal Year 2014 2013 2012
Current Ratio: Current Assets/Current Liabilities 0.39 0.41 0.57

Long Term Solvency

Fiscal Year 2014 2013 2012
Long-term Liabilities/Total Assets 0% 0% 0%

CEO/Executive Director/Board Comments

Up until November, 2015, the organization had kept separate books for the daily business and for building/capital. This had been designed at the beginning of the organization in 1991, in response to a request from the City of Cambridge and the lending entities to insure that the fledgling non-profit of The DC would have some means by which to provide an internal checks and balance. There were also an auditor's summation of these two sets of books in place for all those years. In mid to late 2014, The Barr Foundation gifted The DC an audit, conducted by the firm TDC, which recommended the shift from multiple books to one set of cloud Quikbooks. In accomplishing this alignment of books, minor discrepancies, different charts of accounts within the business and building sets of books have been reconciled. The numbers may show expenses greater than income, due to spending on capital improvements, paid through savings that the organization had accrued.   With the fall of 2015, the organization was awarded a substantial gift from the Barr Foundation, based in part on their satisfaction that the audit they funded and our subsequent intended actions to simplify and align the bookkeeping processes were promising steps.  We are confident, especially with the new hire of an interim Operations and Financials Manager, who is also a certified public accountant, we will continue to reveal clarity in our reports. 

Foundation Comments

Financial summary data in charts and graphs are per the organization's IRS Form 990s. Contributions from foundations and corporations are listed under individuals when the breakout was not available.

Documents


Other Documents

No Other Documents currently available.

Impact

The Impact tab is a section on the Giving Common added in October 2013; as such the majority of nonprofits have not yet had the chance to complete this voluntary section. The purpose of the Impact section is to ask five deceptively simple questions that require reflection and promote communication about what really matters – results. The goal is to encourage strategic thinking about how a nonprofit will achieve its goals. The following Impact questions are being completed by nonprofits slowly, thoughtfully and at the right time for their respective organizations to ensure the most accurate information possible.


1. What is your organization aiming to accomplish?

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2. What are your strategies for making this happen?

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3. What are your organization’s capabilities for doing this?

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4. How will your organization know if you are making progress?

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5. What have and haven’t you accomplished so far?

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