Golden man, you hold my heart in your hand.
Have you ever heard of the Junior Black Academy
for Arts and Letters?
I sure have.
Have you ever heard of the South Dallas Black
Dance Academy?
Yes I have.
Have you seen performances of those organizations?
Sure have.
Have you ever heard of the Junior Black Academy
of Arts and Letters?
No I haven't.
Have you ever heard of the South Dallas Black
Dance Theater? No.
Have you ever heard of the Junior Black Academy
of Arts and Letters?
No I haven't.
Have you ever heard of the South Dallas Black
Dance Theater?
Yes I have.
Have you ever been to any of their performances?
No I haven't.
Have you ever heard of the Junior Black Academy
of Arts and Letters?
I've heard of it, yeah.
Have you ever seen anything that they've done? No.
Where did you hear about them?
Through TV, television.
Have you ever heard of the South Dallas Black
Dance Theater?
No, I haven't heard of it.
Have you ever heard of the Junior Black Academy
of Arts and Letters? No.
Have you ever heard of the South Dallas Black
Dance Academy? No.
Have you ever heard of the Junior Black Academy
of Arts and Letters? No.
Have you ever heard of the South Dallas Black
Dance Academy?
No I haven't.
Specifically have you heard of the Junior Black
Academy of Arts and Letters?
Yes I have, on television.
Have you ever heard of the South Dallas Black
Dance Theater? Yes.
Have you ever attended any of their performances?
No, I haven't.
Okay. Do you think you would like to?
Yeah, I would like to.
Do you think people in the community should
support these organizations?
Yeah. It's got a lot of teenagers, black
teenagers, participating in it.
I think if the community would really get off
into it, it would get, you know, get started more.
We kind of live in a society that's really
mechanized, you know.
People just kind of are basic consumers to some degree.
And when it comes to art, it's just a little
slow, especially in this area, you know.
Like I've always said, you can't eat it, drive
it, or wear it.
It's kind of hard to put it out there.
Is that particularly true with the current
state of the economy?
Does it fluctuate a lot?
I think it would have something to do with it.
It has something to do with the economy.
People now have to think where they're going to buy.
But I got prints for $2.
They have to decide whether they're going to
buy a hamburger or a print now, you know, the
way things are going.
And usually the hamburger sometimes runs over.
Are we going to learn to respect our actors as well?
And give them their true place in our society?
All of those things bother me.
So you say I'm a griper, I complain, but the
wheel that does the squeaking is the wheel that
gets the grease in.
And so if I don't holler, you'll never know.
Hi, I'm Paula Drew Fleming.
Welcome to Dallas Alive.
In just a moment, we're going to let you voice
your opinions on the statements you just heard.
But before you can do that, you must first
understand the interactive process,
Cube's two-way system that lets you talk back
to us.
So pick up your console.
Don't touch any buttons yet.
Just follow along as I explain.
Now this console is your interactive link.
It connects you with us here at the studio.
We ask an interactive question and you use your
console to answer.
Okay, to touch in on an interactive question,
you must first be in the response mode.
Just touch the button marked RSP and a red
light will come on above that button.
Now the numbered buttons below have two functions.
They are your channel selectors as well as the
buttons you will use to touch in on interactive questions.
The number you touch will appear at the top of
your console in this display window.
Now when that number disappears, that means we
have picked up your answer
and in seconds, Cube tabulates your answer into
percentage form
and then they're displayed on your TV screen.
There's one important note here.
After we ask an interactive question, we'll
say, touch now.
As we say those words, they will appear on your
TV screen like so.
Now this is the only time you can register your choice.
If you touch in before the touch now sign
appears, we won't be able to pick up your answer.
Also, you will be anonymous when answering
interactive questions on this Dallas Alive show.
Quickly, one more thing about the console.
You see these black buttons?
Well, they're for future use.
But if you're experimenting with your console
and you just happen to touch the button marked data,
you may find yourself stuck in that mode.
Well, all you have to do is touch the button
marked data twice,
then the channel button once, and you're back
in business.
Okay, let's try it out.
Now this is your first interactive question and
it deals with the theme of our show.
Do Dallas residents support local arts
organizations like the Junior Black Academy of
Arts and Letters?
That's an organization that teaches and
develops upcoming local artists as well as
features the established artists.
At the top of the show, some of your fellow
citizens told us that they've never attended
any of the performances
of the Junior Black Academy of Arts and
Letters, better known as JBA.
And in fact, some admitted that they don't even
know what JBA is.
And our fellow bet pointed out that during
these financially hard times, people simply
can't support the arts.
Esther Roll, a nationally known actress, says
this country has no respect for artists.
Later in our show, you will hear more views on
this topic, but first I'd like to know what you think.
So let me ask you this question.
Which one of the following have you attended
more than once?
One, theater, two, dance, three, symphony
concerts, four, gallery exhibits, five, none of
the above.
Touch now.
And while you're touching in, let me remind you
that this is the only time that you can touch
in on this interactive question.
That's when you see the touch now sign flashing
on your screen.
And let's just go over the question while
you're touching in.
Which one of the following have you attended
more than once?
One, theater, two, dance, three, symphony
concerts, four, gallery exhibits, five, none of
the above.
And as we told you earlier, one of the great
things about interactive is that we ask you an
interactive question,
and in seconds, we get your result.
How quickly? We've got them right now. Let's
take a look.
Well, we have a two-way tie between theater and
dance, and 20% of those touching in say none of
the above.
Well, that's some of the things we're going to
talk about.
Why are you not attending more than once?
Some of those choices on that interactive question.
And Curtis King, the president of the JBA, and
Ann Williams, the founder and director of the
Dallas Dance Theater,
will join us and tell us what kinds of
community support they're getting or not getting.
We're going to talk about that.
And Mr. and Mr. Comer Cottrell of Proline
Corporation will also join us.
They are local business people who not only
support local arts organizations by attending functions,
but they also donate money.
And Rick Otzler, a representative of ARCO, the
Atlantic Richfield Corporation,
will also join us to talk about the grants his
organization donates to the arts cause.
But right now, we're going to hear from two
people who support the JBA by developing and
performing in JBA productions.
They are Dr. Eva Jessing.
She's a well-known choral director.
In fact, she directed the original score for
the musical Porgy and Bess.
And Esther Roll is going to talk to us too.
You may remember her from the series Good Times.
That man over there, he says women need to be
helped into carriages and lifted over ditches
and have the best of everything everywhere.
Well, ain't nobody ever helped me into no
carriage over no mudpills or get me the best
places nowhere.
And ain't I a woman?
Look at me.
Look at my arms.
I done plowed and I done planted and I done
gathered them to the barns.
And no man could hit me.
And ain't I a woman?
I could work and eat as much as any man when I
could get it.
And wear the last dress.
And ain't I a woman?
I done birthed children and seen them sold into slavery.
And when I cried out with a mother's grief none
but Jesus heard me.
And ain't I a woman?
There is no separation from theater or
secretarial work or medical.
It's all the same.
We are the people who make up this government
and we are peoples of several professions.
And to point out one, I don't know, I feel that
its historic value, my profession,
should be among the elite of professions
because of its historic...
You know in other countries they recognize this.
And they are very good to their artists.
We're not good to our artists.
You always want me to work for free.
But the guy who's running the camera, you want
to pay him.
But they will look at me and say, no, can't you
give us about 20 or 25 minutes?
But then I tell the guy behind the camera, how
much are you going to charge us?
Pay it willingly.
I did some things for the Bar Association Wednesday.
All day long out there in that rain doing some
spots for them.
And at the end of the day, thank you.
And all of the technicians, everybody turning
in their pay sheets.
But who cares about the artist?
It isn't important.
It's so important that you need me to get the
thing across, but no respect for that artist.
All of that has to be changed.
I work hard to get where I am.
I paid a lot of money that I couldn't afford
working in a damn factory.
And yet you feel free to call on me to do free work.
But the guy maybe learned from his uncle how to
run the camera.
You feel you've got to pay him.
When are we going to learn to respect our
actors as well?
And give them their true place in our society?
This place is especially dear to me because of
the noble aspirations of Mr. King and the group here.
And I would urge you to support him in what
he's doing.
Because you may not know it, but the way you
get a foothold in any society is through your aunts.
What Curtis King is doing here with the Junior
Black Academy, do you think there's enough
black support for blacks?
No, because they don't realize.
I tell him, and I say to him again through this
and through others, you have to take your
message to the people.
Because they have reason for not coming.
Oh, I'd like to go, but it's a Thursday night.
I can't get there. Oh, Lord, I'm so tired. It's
way out there, and how do I know when it rains?
You have to take your message to the people.
Sooner or later, they'll come to you for it.
Take your message to the people.
That's what commercials are on the television.
They take their message to the people.
You must take it to the people.
They're busy with their activities. They're all involved.
But you have to have something you know and
take it to them.
And through that, you will draw them to what
you want.
How do you take it to them?
And I tell him, why do you think these colleges
send out choirs?
They send out quartets. They send things out.
You do that.
Other than the fact that, or even the city as a
whole, and black business people who aren't
supporting black organizations like the Junior
Black Academy.
One thing let me tell you, the black business
person, it's hard for him to ever feel secure.
That's one thing, you see.
Before I give to you, I must feel like I'm safe myself.
And then to see that, they say, well, I'm doing
all right now, but how do I know the market closed?
How will people come to me?
You see, security. It's hard for the black
business person to be secure.
So because they don't feel secure, they can't give?
Well, they feel like they can't help others be secure.
They themselves are not secure.
It's hard to tell.
So how do you get around that? How do you?
You mean how can that feeling be eliminated? Yeah.
It takes time.
I don't think for people to be ever so patient,
but it takes time.
You can't get, you don't know how many fronts
we're fighting on.
See, a matter of health, a matter of crime, a
matter of business, a matter of art.
We fight on many fronts and we can't make the
same events on each other simultaneously.
One time one will come up ahead of time.
Next day, it focuses on business.
You see, we don't realize how many fronts we're
fighting on.
Have you thought about it? So many fronts.
Do you think even though people out in the
community, black community,
are donating much to black arts and culture in
this form and fashion of the JBA
and others and dance studios and that sort of thing?
Well, one thing, do they have speakers who go out?
I don't know.
Perhaps you can't get, all right, maybe send
speakers out.
I want you to stay from the service 10 minutes
this afternoon or tonight or 15 minutes.
We have a message to bring to you.
That can be done, which has to be a campaign, a
real campaign.
They don't realize that art means much to the
children's lives
and keeps them from crime and keeps them from
habits that they wouldn't,
rather they wouldn't have, they shouldn't have.
They don't realize that art really means something.
They think meat and bread, they think the
physical, there's such an awe, but just that.
What does art mean to you?
If I hadn't been for art, I'd have been dead.
If I hadn't been for music, I'd have been dead
long ago.
It's everything. It's my reason for being. It's everything.
My reason for being.
You hear people saying, well, that's the soul
of people.
Art is the soul of people. That's the soul.
They'll get up in church and they talk about my
soul and my spirit.
They don't realize that art is the soul.
The spirit of man was more important than how
smart he might be.
And is one of the spirits and souls through art
and culture?
The spirit, the soul of man is expressed
through art and culture, sure.
But culture is only an atmosphere in which
beautiful and good things can't flourish.
That's what culture is.
Okay. Thank you.
That's my interest here.
I think there's a great future here. Oh, but it
needs so much help.
One thing, they need a grand piano here.
I know there's someone in this town that has a
grand piano that great grandma had,
or Sister Susie, or cousin somebody, you know,
maybe down in the basement
that they could use to manage here.
People should come out here and say, now, what
can I do to help here?
What is needed here? Let me put this little
thing here.
Why don't they do that?
Well, I don't think people have been alerted. I
don't think this is asked for.
There's so much needed here.
Somebody said, to help to do this.
Every time we turn around, it's money, money, money.
That's because he needs a boom mic here, a boom mic.
Now, whoever gave a boom mic, that's a
testament all the time.
But people give money, it's spent, no proof.
What if they put a boom mic here?
As long as that mic is there, that person is represented.
If I were able, I would do it without a worry.
Would you give your time instead?
I give my time.
No, I'm paid enough to care of my expenses, but
I'm given an extra week here.
The last week is going to be just a free week.
If I were able, I would give more, because it's
needed here.
To see one person get advantage here, two,
three people,
what it means when they touch somebody else and
touch somebody else.
It's like throwing something into the water and
the ripples go and go.
You don't know where the ripples are, they're
way out somewhere.
I just wish people would realize it.
But I think the message needs to be taken to them.
Isn't that right?
Well, Dr. Jesse told us what she thinks the JBA needs,
but Curtis King, the president of that
organization, is with us in the studio,
and perhaps he can tell us more.
Curtis, welcome to Dallas Alive.
Thank you.
As president of the JBA, you know more than
anyone else what the needs are.
Why don't you tell us about some of those needs?
What's the most you need, what you need most? Money.
Since we have been into the building of the
academy from September
up until this present point, there are a lot of
things that we need.
Like Dr. Jesse said, we could use a baby grand piano,
but more so than a piano, we could use theater chairs.
We need theater lights extremely bad.
It's not really a theater per se, it's an auditorium,
so therefore you need tight battens.
We need drops.
We need furniture for the offices.
Now, you're getting support, and you're getting
foundation money and grants.
That's not enough, or what's the situation?
Well, since we've been into the building,
I think the support from foundation grants from
the private sectors began to pick up
because we have a place of identification now.
Since we have been into the building,
the interest of the organization has picked up
like 50-60 percent.
So I'm saying I think things are beginning to develop,
but I always say one thing, talking to a good
friend of mine,
is that I don't want the academy to exist only
off of grants
because what happens when the grants dry up?
Just reading an article in the arts magazine in
New York City,
you had Arthur Mitchell, for example,
has closed practically everything down except
his national dance company
because the foundation said, well, we're going
to pull out.
We don't have any more money.
So what's happened with the institution?
It's almost closed.
So what sort of activities go on at the JBA
besides performances
that would interest people in supporting it?
Well, there's a gallery that's there.
At the last show, the gallery,
there were 17 paintings on exhibit and there
were five originals that were sold.
So I'm saying that that's an indication that
there are some very interested people,
interested and interested people, that come
through the organization.
So you have the gallery space.
There's a cafe theater.
There's a show that's opening next Thursday night.
Velva Carter's doing her show from one of
Tennessee Williams' characters called Blanche,
and that's the name of the show.
And that happens on Thursday nights, 8 and 10,
Friday, Saturday, 10 and 12.
And then there's a big jazz bash that we're
getting ready to start
coordinated by Roger Borkin and Bobby Simpson.
So there are a lot of different activities that
are beginning to pick up with the academy.
Do you give classes as well? Do you instruct?
This was the first semester that we started the classes.
The registration wasn't all that great, but it
turned out pretty well.
What sort of classes are we talking about?
Well, there are courses in creative writing.
There's Barbary Sanders that's teaching a
creative writing class.
There are nine students in that class.
I'm doing a beginning acting class and I have
nine students.
There is a children's theater class that's
beginning to develop.
There are 15 people that have registered for
that class.
And then Dr. Pearl Primus is coming in this week.
And she's talking about some dance workshops
and working with various people throughout the city.
Do you also, in effect, teach how to set a stage?
Yeah, the technical aspects, of course.
And this is always the interesting thing.
A lot of people, like Estrella mentioned earlier,
they like being in front of the camera,
but they don't like working behind the camera.
And that's where a lot of the money is.
You found very few people who really are
interested in the technical aspect of the art.
And those are the people that really make the
thing work.
You said that you were getting your support
from foundation and grants.
What about, I've been to a few performances at
the JBA.
And one thing that I've noticed is there really
isn't a lot of people in the audience.
I mean, it's an auditorium. It was a school.
And it's a nice size auditorium.
Why aren't people coming? What's the problem?
Well, I think, like Dr. Jess said earlier,
one is you take the academies, four years old,
and everything takes time and also money.
But I think that it's a matter of getting out
there to the community.
And public service announcements would only do
so much.
You need some advertising money.
I mean, I think that we need some good
advertising money.
And I think that the press has begun to pick up
on that.
It is, quote, a legitimate organization.
And that it's doing some legitimate things in
the community.
So as a consequence, I think that it's
beginning to pick up.
Because I've noticed in the last, we've only
done two theater performances there.
And I think the attendance has been pretty good,
considering there are 12 shows that are done
for each performance.
So I think it's done considerably well.
Now, Dr. Jess said that you need to take the word,
take the message out to the people.
Now, do you do that? And if so, how do you do it?
Yeah, let me say, I understand what Dr. Jess is saying
in the sense of taking the word to the people
like a type of a street ministry, more or less.
But when you only have one full-time person and
a part-time person,
and your organization depends upon volunteer,
which is good,
it's only so little time where certain things
can be done.
Now, if you had a staff of maybe, I would say
even a good executive secretary,
it would be a lot different.
So you need that kind of support.
You need people's support to help spread the word.
Yeah, help spread the word.
And I think that is not so much the
responsibility of the artist, per se,
to take the word.
But if you have one person that comes to your performance,
if that person is indeed interested in your organization,
then that person can carry on.
That's how the academy has gotten to the point
of the level where it is now.
Well, let's ask an interactive question.
Would you support an organization like the JBA?
One, yes. Two, no. Touch now.
And while you're touching in, let's repeat the question.
Would you support an organization like the JBA?
One, yes. Two, no.
Although, Curtis, you have said since you moved
into your new building
that you have noticed an increase in people coming.
Is it simply from that word of mouth or advertisement,
or have you been getting more press coverage,
or what do you think that increased damage from?
I think it's a combination of all of them.
Word of mouth, telephone canvassing, the press
has begun to pick up.
And I think the main thing has been we have a
place of identification now.
We've got our results. Let's take a look at them.
Eighty percent of those touching in say yes,
and 20% say no.
Well, you might have to change some minds.
Why? I don't know why.
Let's ask this other interactive question.
Of the following, how would you most likely
support the JBA?
One, by attending performances.
Two, by donating money.
Three, by donating props and equipment.
Four, by letting others know what the JBA is doing.
Touch now.
And while you're touching in, I'll repeat the question.
Of the following, how would you most likely
support the JBA?
One, by attending performances.
Two, by donating money.
Three, by donating props or equipment, or both.
Four, by letting others know what the JBA is doing.
One of the things that I know, I know you
basically run the JBA,
and you have very little help.
So would you be interested in people donating
their time
just to help you run that organization in effect?
Oh yeah, I don't run the organization by myself.
The way the academy is structured now is that
it works in committees.
It's just like a church more or less.
And if anybody knows anything about the Baptist Church,
I say particularly because that's what I'm
affiliated with,
it works very, very well.
So everything works in a committee.
You have a public relations committee.
You have a hospitality committee.
You have a membership committee.
There are coordinators for each one of those committees,
and I find it to work very well.
The idea is that everybody wants to get to Curtis
because they want to see what I think,
but I say go to the coordinators if they're
coordinating those events.
We've got our results.
Let's take a look at them.
Two I tie with one, and three, and 20% of those
touching and say,
by letting others know what the JBA is doing.
Well, that's not bad, Curtis.
I mean, that's pretty encouraging,
and maybe you can look forward to some of the
folks calling you
and giving you that support that perhaps you need.
What do you plan for 1982?
What's the JBA planning for 1982 and beyond?
Well, tomorrow night, Dr. Jessie is joining her production,
Dallas, Yours and Mine.
Which I'm in.
Which you're in, right.
At the academy at 730.
It's a great show.
She's highlighting some of the attractions of Dallas.
Well, the academy is at 723 Peek Street.
And it's also Friday night at 730.
Admission is $5.
Then we're working on the gala production that
comes up in July,
July 22nd, 23rd, and 24th,
and we have a couple of commitments from a
couple of really big-name artists that I...
Now that's your fourth annual, isn't it?
It's the fourth annual awards banquet.
Last year we had 18 artists to come to do the
benefit for the organization.
And you're talking about name artists.
Name artists.
Like Olivia Cole, Robert Hooks, Roy Campanella,
and so forth.
So I'm excited by the academy.
Always excited.
What else?
I mean, what's your goal throughout the year?
We've talked about the...
Well, the goal is to pay for the building.
I mean, that is first priority, is to pay for
the institution.
And at the same time, keep programs going, keep
name artists coming through,
so there can be a gap that's bridged between
the old established artists
and the younger artists that are coming on.
Because I always look at Dr. Jessie for an example.
Here was a woman that's 87 years old that
walked with Bethune,
that knew George Washington Carver.
These are people that I never had the
opportunity to meet in person.
So the closest that I can get to a person like
that is to walk and work with Eva Jessie.
And since she was telling me the other night
when I was taking her home that,
well, Mr. King, I guess I'll pack my things up
and get ready to leave, you know.
And I really had to leave because of an
emotional feeling I had.
I've become so attached to this woman, you know,
with the wealth of knowledge and the
information that she has
and all of the story, I mean priceless stories.
Yeah, she's priceless.
And you know, last night we sat at the Academy
until 12,
3 in the morning with her telling stories.
I know, she's fascinating. I enjoy talking to
her too.
And I thank you for coming on Dallas Alive,
and I wish you much success in 1982 and beyond.
Thanks, Paula.
And we're going to break away for just a moment,
but before we do that I'd like to ask you this
interactive question.
Have you ever heard of the Dallas Black Dance Academy?
One yes, two no.
Touch now.
Have you ever heard of the Dallas Black Dance Theater?
One yes, two no.
And while you're touching in we're going to
break away,
but we'll be right back with your results
and with a guest to tell us about that academy.
So don't leave us now.
We'll be right back.
Thank you.
Welcome back.
We've got your results from that last
interactive question
where we asked you,
have you ever heard of the Dallas Black Dance Theater?
And this is what you said,
so let's take a look because we've got your
results right now.
60% of those touching in say no
and 40% of those touching in say yes.
Well, we're going to tell you about it so you
will know
because Ann Williams, the founder and artistic
director of the dance theater,
is here to tell us about her organization.
And welcome to Dallas Alive.
Thank you, Paula.
Tell us when you started the dance theater and why.
Well, the dance company started in 1976, in the
fall of 1976.
And of course we started it because there was
an interest
among some very talented black dancers in the
Dallas area.
Some were former students of mine
and some that had gone on and received dance degrees
and of course wanted to start a black dance company,
a modern black dance company.
And so one Sunday evening they got together
and approached me with the idea
and five years later here we are.
How has it been difficult to develop the program
over those years since its inception?
Not really in so much as developing
because we do have talented dancers artistic wise.
There has not been a problem maintaining the
development of it
and maintaining all the other things that go
along with it
and preparing for future growth, I would say,
has been the problem.
But there's not a problem with maintaining the
artistic value
because we do have some very talented black
dancers in the Dallas area.
What are some of your successes with the program?
I know you have a few. Yes.
I would say one thing that we're very thrilled about,
the successes so far,
we perhaps started out as a grass root organization
where we trained dancers here in Dallas
and perhaps we could not hold them together
because of financial reasons.
We could not pay them full salaries
and we were very proud that they could go on to
other dance companies.
And today we have a dancer with the Joffrey Ballet.
We have a young lady that's our first artistic director
that's a dancer and actress now in California.
In fact, she recently appeared on the Fame Show
with Debbie Allen.
And we have a young man that's studying at the
Ailey Dance School.
He's in the Ailey Three Company
and also a young man that's dancing on Broadway
and dancing.
That is some of the most outstanding
accomplishments thus far.
And of course, the roots that we have here in
the Dallas area,
the training of the dancers and the performing agencies
that we have been involved with.
While we're talking, we're watching a tape as well,
which is some of your dancers
and I understand that this gentleman has got
much to say.
Yes, we're very proud of him.
He's a young man that's here in the Dallas area.
And of course, the reason you see Milton there
is because it's an example of some of the roots
that are still here in the Dallas area.
Milton was Dallas' first presidential scholar.
In fact, he's a graduate of the Arts Magnet
High School,
which turns out very good dancers,
which feed into the Dallas Black Dance Theater.
And of course, Milton went to Washington
to receive his presidential medal from the
President of the United States,
President Carter.
And there you see a young lady, Lisa Coleman.
She was another presidential scholar.
She was not a finalist.
She was a semi-finalist.
She's still with the company,
and Lisa now is in her second year at Texas
Women's University
and one of the leading company members of the
dance theater.
Now, the presidential scholar is a pretty
prestigious honor.
Very, very.
When Milton won, that was the first time that
this had ever happened,
and since that time we've had several students
that have been involved in the program.
So you obviously have talented people in the program.
Are you getting enough support?
Well, first question should be,
what kind of support are you getting from the
community and financially?
Not enough.
We are getting some financial support,
but to run a dance company is just like a business.
You want to pay the dancers.
There are teachers that need to be paid.
There are costumes.
There need to be money for productions,
for travel and maintaining of a building.
So these are the kinds of financial support
that one would need to properly run a dance company.
And this is what we are hoping to continue and
to get more of.
But we have to if the dance company is to stay alive.
What about community support, people attending performances?
In some areas it's been very good.
Whenever there's a free performance,
there's always a house full when it comes to
paid performances,
as I've heard some of the other persons say on
the program.
The arts perhaps during this time of the decade
are slowly beginning to slip to be the last
thing on one's budget.
And this is sad, but it's a reality.
And what we're trying to do is to educate the people
that this should be among the number one things
because the arts, you know, it's a discipline.
And not only is it enjoyable, but it's also a discipline.
Now, you were saying that you do get some
financial support.
Are you receiving private grants from foundations?
Yes, we're receiving private grants from foundations,
private foundations, government agencies,
and from some of the major corporations here in
the Dallas area.
And what we want to do is just hope that these
will continue
with the low arts budgets right now.
We hope that the foundations and the corporations
will want to contribute more because of the cutbacks
in the government agencies.
Now, just earlier in the show,
we talked to various people out in the community.
A lot of them, like in the Junior Black Academy,
did not know of the Dallas Black Dance Theater.
They didn't know the JBA.
What's the reason for that?
The publicity and getting it to the public.
If something is on TV, you can just about imagine
what will take presidents over a dance company
or perhaps over a theater group with the shows
that are on now.
The children, when they pick up the TV guide on
a Sunday,
they want to see what's going to go on for the
remaining of the week.
And everybody has their favorite show.
So I would say that we need to do more advertising.
We need to get into the communities to make
them more aware.
We need to get into organizations.
And this is one of our thrusts for this coming year
to make the Dallas Black Dance Theater more
visible among the community.
I would say that, and I'm sure you'd agree with me,
that your company is very useful and helpful to
the children
in the community.
So with that thought in mind, I'd like to ask
an interactive question.
Do you think a program like the Dance Academy
is important to the development of youngsters
in our community?
One, yes.
Two, no.
Touch now.
And, Anne, if you don't mind, I'd like you to
respond to that question.
Do you think it is, and if so, how?
Yes, I do.
For the first time this past year, we had a
sellout performance,
two sellout performances at the Bob Hope
Theater at SMU.
We were able to offer daytime performances
for the public and private school children.
And, of course, some of the schools were so
excited to be able to come
until we had students, you know, two to a seat.
And we hope to increase that, you know, next year.
And I think it's very, very important.
The kids loved it.
We've got our results. Let's take a look.
It's time.
Well, obviously, in your view,
it is important to the children community.
And one of the residents in the Dallas
community earlier in the show
said that she felt it was important to children
in our community as well.
Tell me this.
What do you plan?
What are your plans for 1982?
One of our main goals for 1982 is to place
eight dancers on regular contract.
This would mean that we would have available
eight dancers
that we could schedule, you know, performances
on tours
and more performances within the city of Dallas,
which means we'd be able to pay these people.
And then, of course, we'll have eight part-time
or contracted dancers
as all of our dancers are now.
Next, one of our major goals is to increase our
fundraising efforts.
And, of course, we're going to start that by
beginning March, no, May the 23rd.
We're going to be the guest at New Hope Baptist Church
and the Times Herald publisher, Thomas McCardin,
is going to be the speaker that morning.
And afterwards, there's going to be a reception
where we're going to pass that letter to her.
And, of course, his speech is going to be, you know,
related to the black arts, you know, in Dallas.
And then June the 13th, we'll kick off our
annual fundraising guide,
which will be a fashion, celebrity fashion show.
This will be our second year for that.
And I'm hoping, you know, for my success.
I wish you much success.
Thank you.
And I thank you for joining us on Dallas Alive.
Thank you, I enjoy it.
And in just a moment, three other guests will
join me
to talk about arts and business, so stay tuned.
Let's get started.
Thank you.
Let me ask you this question.
Do you think business has a responsibility to
support the arts?
One, yes.
Two, no.
Touch now.
And while you're touching in,
let me introduce you to our three guests in the studio,
starting with Mr. Coma Cottrell,
the president of Proline Corporation,
and Isabel Cottrell is also with us,
along with Rick Ostler, a representative of ARCO,
the Atlantic Richfield Corporation.
And first of all, I'd like to thank you all for
joining us,
even though I gave you the long directions on
how to get here.
Thank you for being our guests on the show.
Let's open our discussion first by taking a
look at our interactive question.
The results will be in in just a moment.
In fact, they're in right now.
Let's take a look.
Eighty percent of those touching in say yes.
They think that business has a responsibility
to support the arts.
Well, in reference to that, let's open our
discussion with you, Coma,
if you don't mind.
Why do you think, and I know Proline does support
local arts organizations throughout Dallas,
and because of that, why do you think it's
important to support?
Well, the reason I think it's important that
business supports the arts
is first of all, having watched your show,
it looks like it's going to be one of the major
sources of funding for the arts.
And it's true that the arts, the budgets have
been cut,
and the government area, which in the past has
been very responsive to the arts,
the local government, state government, and
federal government.
Well, all of those funds have been cut back
with the public having
its own financial problems, unemployment like
it is, and other areas.
It's more or less up to business and the
private sector to support these things at this time.
What would you say about that, Isabel?
I feel the same way that my husband feels,
and that the black arts are very much a part of
our heritage.
And also just talking with Dr. Jessie at the
Black Academy,
it made it even more so meaningful,
because she is a person that has been able to
demonstrate the need.
She has won many hearts, hasn't she? Yes.
What would you say to that, Rick?
ARCO supports organizations, arts
organizations, and what's the reason behind
ARCO doing that as well?
Well, for one thing, I believe our company has
an obligation to give back to the community
where it operates,
where our employees live.
We feel very strongly that the community is
richer for our support and other business support,
and it's an obligation.
What types of organizations, this is thrown out
to everybody here,
what types of organizations do you support, and
why have you chosen those organizations?
We'll do the roundtable again.
Well, at Proline, we support primarily the
black art groups.
And the reason why is in many cases, all
businesses have the responsibility, as we said earlier,
but blacks have limited access to those.
And being black, we feel that our specific
response has to be to our own community first.
However, we do support the symphony.
I've just been asked to serve on the board of
the Dallas Symphony,
and of course, once I'm on the board of the
Dallas Symphony,
I will have the responsibility of supporting it also.
But our primary concern at Proline is to
support our own.
Now, I know, Isabelle, you as well, both of
you, are thinking about joining the board.
What's your feeling at the symphony board?
What's your feeling about that?
Well, I think it's an honor, and I feel that
Dallas is ready for it.
They are really getting more involved in the
arts, and I just feel honored.
You're pretty involved. I mean, you're very
active in the arts locally as well.
Well, I have really done most of my, I guess
most of my talents were in the arts,
growing up and in school, and in winning beauty badges.
Well, I can see why.
I used to win a lot of scholarships, and when I
won the major beauty badge that I was in,
it was like from doing, you know, a creative dance.
And I have to also give the utmost respect to
the arts and having someone where to learn
to demonstrate those talents, you know.
So I was able to develop my talents in the academies.
Okay. And Rick, I'm going to ask you the same
question I asked earlier.
What types of organizations do you support, and
why did you choose those specific ones?
Well, I don't have my list with me.
Yeah, it's a long one, right?
We try to support a broad cross-section of arts organizations,
both visual arts organizations and performing
arts groups.
We think it's almost essential that we try to
give everyone a chance to get underwriting.
Now, do people just call you or send a letter
and say we really need some help here?
We get stacks of mail, and we welcome it.
And it's a difficult selection process, frankly.
It's not easy.
There are more people than we have dollars to
give to, and the selection process is very difficult.
Now, the organizations that you support and
you're supporting financially,
do you support by attending some of the events
that those organizations give as well?
In fact, we feel very strongly about the
connection between what our employees are
involved in
and the organizations that we support.
And by that, I mean we encourage our employees
to get involved in the community,
in all kinds of organizations, including arts groups.
We want them to volunteer their time if they can.
We want them certainly to attend performances.
We have a mechanism whereby if they decide to
contribute money, we have a matching gift program.
So if an employee wants to give $25, let's say,
to Dallas Black Academy,
we'll match through the foundation with another $50.
That's terrific.
So it helps.
It multiplies the money for the organizations.
I mean, is it the same?
Do you support financially, I know, as well as
attending functions?
Yes, we support it in both ways.
However, I think I'll find the employees of
ARCO, follow my channel contributions through them,
and let him double that.
That's a way to really help the arts.
I wish we could do it.
Let's ask this interactive question.
Do you think business should support the arts,
one, by itself,
or two, as a joint venture between business and
community residents?
Touch now.
And I'll go over the question while you're
touching in.
Do you think business should support the arts
by, one, itself,
two, as a joint venture between business and
community residents?
Now, you know, we were just talking to Dr. Evie
Jesse and talking to Curtis King and Ann Williams,
and they were talking about some of the
problems they're having as far as bringing in audiences.
Do you think that the community is giving
enough support to organizations, local arts organizations?
Well, I had a meeting this morning at my office
with Curtis King,
and one of the things that I mentioned to
Curtis was he has to define his audience,
and then it's defined in a market segment.
And once he has defined that segment of his market,
then he can channel his efforts to reach that
particular market.
But right now, it's very important that he has
a program that has to be marketed,
and knowing how to market in Proline, I'm going
to use my marketing staff to give him some
assistance in that area.
How would you answer that as far as the
community support?
And then we'll take a look at our results.
Well, I think the support of arts is something
that we all have to do.
It's interesting to me that nationally, 90% of
the support for nonprofit agencies comes from
private individuals.
Corporations provide another 5%, and
foundations another 5%.
So really, most of the bulk of the support
still does come from people like you and I as individuals.
Let's look at our results as we've got them.
80% of those touching in say a joint venture.
Well, I have another interactive question for you.
Would you support a business or organization
that supports community arts?
One, yes. Two, no.
And my question to that is, have you noticed a result?
I mean, from people knowing that you're
involved in local arts organizations, do they
support you more as corporations?
Well, to me, I find it much like advertising.
You can't really quantify the response.
It's hard to specifically say whether or not
you receive a positive response by increased sales.
I can't relate to it in that manner.
It's too hard to measure, I think.
Have you noticed any, or is that the same
problem that's hard to measure a little bit?
It's very difficult for us to measure with
Atlantic Richfield because we don't market to
consumers in the state of Texas.
We have no service stations here.
Okay, let's take a look at our results because
we've got them in.
100% of those saying yes.
Well, you're hearing it.
It does make a difference.
I'd like to thank all of you for coming on
Dallas Alive and continuing support for people
like Ann Williams and Curtis King.
And I want you all to stay here because we're
going to give you a little tip of the rest of
the shows that we feature on Cube Cable.
On Thursday nights at 6:30 p.m., watch Cube at
Your Service.
All the questions you may have about the Cube
Cable system and the programs we offer will be
answered on Cube at Your Service.
And that's every Thursday night.
And John Haines, the director of programming,
is the host of that show.
Following that show, stay tuned for On Cube, a
foul program that features Dallasites
expressing their opinions on Cube.
Monday nights, join Preston Pearson during his
half hour show called Sports View.
That program is also interactive, so you'll be
able to talk back to Preston.
And right after Sports View, enjoy an hour of
video DJ, a Cube program that features music
for everyone.
And then on Thursday nights at 6:00, watch Storytime.
During this half hour, storytellers will take
your children into the fascinating world of books.
And at 7:00, tune in for Celebration, an hour
show that's interactive and geared towards the
older adult.
And then on Wednesdays, join me again on Dallas
Alive, a program that's about you and our city.
And, of course, as you know, Dallas Alive will
also be interactive.
So we'll see you next week on Dallas Alive.
And again, thank you everyone for joining us on
Dallas Alive this week.
So long.
Thanks for joining us.
We'll see you next week on Dallas Alive.
We'll see you next week.