Why don’t Charlotteans put their money where their arts are?

There’s no quicker way to generate sparks from Charlotte creatives than by raising the subject of the Queen City as a place to earn a decent living as a working artist.

More than a few actors, musicians, dancers and visual artists have concluded that while the city may be a great place to live and raise a family, Charlotte’s cultural community can’t thrive without greater financial support.

The issue is underscored by community and business leaders Stacy M. Anderson and Darrel Williams, who made a solid economic argument to the benefits from dedicated public arts funding in a recent Charlotte Observer Op/Ed.

To gain insight on the challenges surrounding the economic side of arts creation—especially for small, nonprofit arts organizations—C5 spoke with Caroline Calouche. She’s founder, artistic and executive director of Caroline Calouche & Co., which blends contemporary dance and circus arts. She is also founder and director of the annual Charlotte Dance Festival. 

The Gastonia native established her troupe as a nonprofit organization in 2006, after receiving dual BFA degrees from Texas Christian University in ballet and modern dance. Our interview was edited for length and clarity:

C5: Is Charlotte an arts town?

CC: Tough question. I’ve seen the loss of our repertory theater company. I’ve seen the loss of dance artists and choreographers that have left Charlotte because they can’t make it work. Atlanta is being recognized as a strong dance market, partly due to the film industry moving down there (and away from NC). There is commercial and corporate work that has left Charlotte, which is a downside from this kind of shift, and these are outlets that helped sustain (and subsidize) the creation of deeper art.

C5: What does it take for small companies like yours to develop an audience and build interest in your work?

CC: Charlotte audiences love Broadway and things where they know what to expect. If it is a show that is new or experimental, or they don’t necessarily know what they are getting into, that can be a challenge to get them to come to the theater. Audiences here aren’t going to gamble with their entertainment dollars. It’s a topic that we are all trying to figure out. 

C5: Why did you establish your company as a nonprofit?

CC: When I was at TCU in 2002, I learned most dance organizations at that time were established as nonprofits. It was simply the pathway that artists took. This allowed us to apply for grants and receive tax-exempt donations. 

It’s a bit different today. When advising other emerging artists, especially those just starting out, I recommend to initially not go full throttle in pursuit of nonprofit status. There are many reasons for this—primary among them is grant support and public funding is waning in these economically challenging times. Arts organizations compete for private donor dollars with social service agencies that some view as more compelling or worthy recipients. Arts are often seen as “extra.” 

C5: How does your current economic model serve you?

CC: I knew there was going to be an administrative component to running my company as a nonprofit. To the extent I knew of that time involvement and how much it takes me away from creating art, I didn’t realize that.

Responsibilities like fundraising, sponsor development, board (of directors) development, grant applications and filings all take you away from your art. I also know of many nonprofits that have closed in part due to all the back-end work necessary before a performance even hits the stage. It can be very discouraging.

There are advantages, however. Nonprofit status does allow us to apply for arts-specific grants and gain funding for pursuits like research and program development we might not be able to generate if we were a for-profit company.

C5: What is encouraging and inspiring for you about making art in Charlotte?

CC: So much. I find inspiration from my artists and dancers in my company and collaboration with theater companies, musicians and other local artists. Everyone wants to work toward a bigger goal and connect to audiences in an authentic manner. We genuinely try and connect and deliver a more engaging experience for audiences than simply watching a show, and we get feedback that we are successful in that.

We have enjoyed a resident-company relationship with the Blumenthal Performing Arts Center since 2012, and have a great relationship with Charlotte Center City Partners, which engages us for many events and programs. I’m inspired by partnerships and outreach programs we have (UNCC, Charlotte Ballet, CMS) in education programs with area youth. There are so many kids that are taking dance classes here in Charlotte. We’re bridging generational gaps and developing community—that is all inspiring.

Caroline Calouche & Company premiers Lingua on April 12 & 13. Through dance, circus arts, theater and music, the production examines how people who speak different languages perceive time and space. Find more information on performance times and tickets here.

This story was originally published February 28, 2019 at 9:01 PM with the headline "Why don’t Charlotteans put their money where their arts are?."