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- Dallas Opera seeks The Kern Wildenthal General Director and CEO
Organization
For nearly 70 years, The Dallas Opera (TDO) has been a defining cultural institution in Dallas and among leading American opera companies. Founded in 1957 with an inaugural season featuring Maria Callas, the company established a standard of artistic excellence that continues to guide its work.
TDO has presented more than 300 productions and welcomed many of the world’s most distinguished artists in significant American and company debuts. The organization has earned a reputation for artistic rigor, production quality, and disciplined governance.
The company’s artistic identity is anchored in the great works of the operatic repertoire, presented at the highest professional standard. These works remain central to audience engagement, donor confidence, and institutional stability.
In line with its tradition of artistic leadership, TDO has also regularly commissioned new works and produced rarely performed repertoire, strengthening its international reputation through disciplined and purposeful programming.
In 2025–2026, The Dallas Opera completed the most successful fundraising initiative in its history, raising more than $50 million for endowment and operations.
The Dallas Opera enters this leadership transition from a position of strength—artistically distinguished, financially fortified, and poised for disciplined growth in one of the nation’s most dynamic cultural markets.
Position Summary
The Kern Wildenthal General Director and Chief Executive Officer (CEO) reports directly to the Board of Directors and serves as the principal executive and administrative leader of The Dallas Opera.
In close partnership with artistic leadership, the CEO will define institutional strategy, allocate resources with discipline, and ensure sustained artistic and financial performance.
This appointment carries a clear mandate: to steward strength and extend it.
The CEO will exercise executive authority across all operational, financial, and administrative functions of the organization.
The CEO must navigate an evolving performing arts landscape marked by shifting donor expectations, contraction in corporate philanthropy, rising production costs, and changing audience behavior—while preserving institutional integrity and international stature.
The CEO must also articulate, in partnership with artistic leadership, a clear and forward-looking vision for The Dallas Opera in a rapidly evolving cultural landscape. This includes leveraging digital platforms and emerging technologies to expand reach, deepen engagement, and create innovative pathways for artistic experience and institutional growth.
Roles and Responsibilities
• Define and execute a multi-year institutional strategy aligned with artistic excellence and financial sustainability.
• Ensure alignment between artistic programming and institutional capacity.
• Partner closely with artistic leadership to uphold the company’s artistic standards and long-term vision.
• Maintain direct accountability for financial performance and long-term sustainability.
• Work closely with The Dallas Opera Foundation and the Board’s Finance Committee to ensure long-term financial alignment and institutional sustainability.
• Lead all major philanthropic strategy and principal gift cultivation.
• Advance innovative audience development and digital engagement strategies that expand institutional reach and relevance.
• Recruit, lead, and retain a high-performing executive team.
• Foster a culture defined by clarity, accountability, and measurable performance.Qualifications
• 10 or more years of successful senior executive leadership experience within one or more major opera, classical music, or performing arts institutions, including demonstrated responsibility within organizations of significant scale and complexity.
• Demonstrated success leading complex arts organizations through periods of financial transition, growth, or repositioning.
• Deep knowledge of the operatic repertoire and its performance traditions.
• Proven experience managing complex operating budgets and endowment stewardship.
• Demonstrated fundraising leadership and revenue diversification success.
• Established credibility within the national and international opera field.
• Exceptional written and verbal communication skills.
• Executive presence, sound judgment, and the ability to inspire confidence across constituencies.Compensation and Benefits
The Dallas Opera offers a competitive executive compensation package commensurate with experience and achievement, including comprehensive benefits.
Expression of Interest and Inquiries
To submit a current CV and a brief statement (in lieu of a cover letter and resume) outlining how your experience aligns with the job description—and addressing the core leadership areas that will be explored in interviews, including artistic vision and institutional positioning; fundraising strategy and revenue growth; governance partnership and board engagement; financial stewardship and operational oversight; community engagement and audience development; and leadership philosophy and organizational culture—please visit https://artsconsulting.com/opensearches/the-dallas-opera-seeks-chief-executive-officer/. A statement is encouraged but not required. For questions or general inquiries about this job opportunity, please contact:
Applications will be accepted until March 31, 2026.
The Dallas Opera is an Equal Opportunity Employer.
- Good Morning
Three AI stories today, three different sectors, one question: How far into the arts ecosystem does this go? An AI talent studio is building an entire digital universe for its synthetic actor Tilly (Los Angeles Times). Public Books argues we risk losing sight of human thinking itself as AI-written essays become the college norm. And SMU DataArts asks whether grantmakers should use AI to process applications — a prospect most arts people will hate but that capacity-strapped funders may find hard to resist.
Paavo Järvi has been named the next chief conductor of the London Philharmonic, succeeding Edward Gardner in 2028 (The Guardian). In Indianapolis, Newfields has shut down the Lume, its 30,000-square-foot immersive Van Gogh projection space, after a five-year run (The Indianapolis Star). The immersive-experience bubble, it seems, has its own shelf life.
A painting dismissed as not-a-Rembrandt 65 years ago has been re-authenticated by the Rijksmuseum after two years of high-tech examination (AP). Experts can change their minds — it just takes six decades and better equipment.
All of our stories below.
- Post-Assad, Syria’s Powerhouse TV Industry Has New Freedoms And New Challenges
“While Egypt is known for its movies and Lebanon for its pop singers and composers, Syria’s TV series” — especially the high-profile dramas aired during Ramadan — “have for decades been seen as the gold standard in the region.” Naturally, the fall of the long Assad family dictatorship has led to some changes. – AP
- Britain’s Ballet Black At 25
Founding Artistic Director Cassa Pancho: “There was nowhere in this country for Black classical dancers to be hired. It was suggested to me that they go and dance with Dance Theatre of Harlem – as if every Black person trained in ballet can only go to one place!” – Bachtrack
- Tilly-The-AI Actor Gets Her Own Universe
AI talent studio Xicoia, which created Norwood, has announced plans for a “rapid expansion” for the digitized actor. The developments include a digital universe dubbed the “Tillyverse,” where ”Tilly and a new generation of AI characters will live, collaborate and build careers.” – Los Angeles Times
- The AI-Written College Essay And The Decline Of Thinking
Surely the most dismal prospect is that we will lose sight of our own forms of thinking and understanding if those terms are assimilated to the capacities of AI. – Public Books
- This Little Company Brings The Ephemerality Of Theater To A Whole New Level
Every month, in an American Legion hall or women’s center (anywhere but a theater) in Los Angeles, Public Assembly presents three 12-minute plays that it has developed over the previous four weeks from pitches submitted from the audience at the previous month’s show, which is advertised only by word-of-mouth. – Los Angeles Times (Yahoo!)
- What If The Future Of Public Broadcasting Doesn’t Include Broadcasting?
If we were to launch a new local, mission-driven public-service media entity today, what would it look like? – Editor & Publisher
- Why Is There A Shortage Of Understudies In Toronto Theatres?
For at least three years running now, shows in Toronto have been disrupted because theatres did not have adequate understudy coverage. – Toronto Star
- Poet Threatens To Sue Arts Council England After Defunding
A poet is threatening Arts Council England (ACE) with legal action after a magazine it funds withdrew her work from publication based on her “social media presence”, which she believes refers to gender-critical posts. – The Guardian
- Should AI Be Used In Grantmaking? If So, How?
Arts-minded folks are likely to hate the idea, but there are pressures which could push toward it: increasing application volumes, limited staff capacity, and mounting expectations for speed and consistency in decision-making (not least from board members). Could grantmakers use AI responsibly? – SMU DataArts
- Miami Public Broadcaster WLRN In Turmoil
The future of public radio in Miami is at stake in an escalating conflict between South Florida Public Media Group, which manages WLRN, and Miami-Dade County Public Schools. – Axios
- There Are No Psychopaths?
While it has been researched across hundreds of empirical studies – especially since the explosion of research in the late-1990s – there is still remarkably little evidence that corroborates popularised claims about the diagnosis. – Aeon
- Lufthansa Changes Musical Instrument Carryon Rules After Incident
As of March 1, Lufthansa Group, citing “customer feedback,” said it would be applying “a new, more generous” carry-on policy for small instruments, such as violins, trumpets or ukuleles. – The New York Times
- Painting Unseen For 65 Years Authenticated As Rembrandt
The artwork, Vision of Zacharias in the Temple, has been in private hands since 1961, a year after art historians declared it not to be by Rembrandt. After two years of examination with state-of-the-art equipment, experts at Amsterdam’s Rijksmuseum have now reversed that earlier assessment. – AP
- Swiss Composer-Videographer Takes a Bow<a href="https://www.artsjournal.com/herman/2026/03/swiss-composer-videographer-takes-a-birthday-bow.html" title="Swiss Composer-Videographer Takes a Bow” rel=”nofollow”>
They’re celebrating Steff Signer’s 75th birthday at the Palace tonight in St. Gallen, Switzerland. - Rebecca Benaroya, Doyenne Of Seattle Arts Philanthropists, Has Died At 103
“Together with her late husband, real estate developer Jack Benaroya, Becky Benaroya championed dozens of arts, humanitarian and civic organizations including the Seattle Symphony,” whose home, Benaroya Hall, opened in 1998. – The Seattle Times
- Several Sets Of Regulators Could Still Block The Paramount-Warner Bros. Deal
Among those regulators are the Antitrust Division of the U.S. Department of Justice, the European Commission, and the U.K. Competition and Markets Authority. What’s more, several state attorneys general are considering a lawsuit, and the Committee on Foreign Investment in the United States may have concerns. – TheWrap (Yahoo!)
- Paramount Says It Won’t Sell Off Warner Bros. Cable Businesses
“Paramount Skydance’s leadership says there are no plans to divest or spinoff cable assets after merging with Warner Bros. Discovery for $110 billion. The deal will see the two companies control a vast portfolio of cable and free-to-air networks, including CBS, CNN, HBO, … Discovery Channel and much more.” – TheWrap (Yahoo!)
- Chicago Launches Plan To Create Loop Arts District
“The district will be supported by nearly 90 Loop arts organizations that will develop the neighborhood as an arts and culture destination. … (It) is also envisioned as a way to stitch together attractions such as Millennium Park and the Chicago Riverwalk.” – Chicago Sun-Times
- Paavo Järvi Named Next Chief Conductor Of London Philharmonic
Music director or chief conductor, formerly, of (among others) the Cincinnati Symphony and the Orchestre de Paris, and currently of the Deutsche Kammerphilharmonie Bremen and Zurich’s Tonhalle-Orchester, the 63-year-old Järvi will succeed Edward Gardner in London in the fall of 2028. – The Guardian
- Indianapolis Museum Of Art Has Closed Its High-Tech Immersive Art Space
The museum opened the 30,000-square-foot space, called the Lume, in 2021 with a 150-projector installation emblazoning images of Van Gogh’s paintings across the walls and floor. – The Indianapolis Star (Yahoo!)
- Director of Development – The Cape Playhouse via TOC Arts Partners
About the Opportunity
The Director of Development is a senior leadership role responsible for advancing the fundraising efforts and philanthropic growth of The Cape Playhouse and Cape Cod Center for the Arts. This dynamic individual will lead the organization’s development strategy, including overseeing all contributed income streams, such as individual giving, corporate sponsorships, foundation grants, and government support. Additionally, the Director will play a key role in the planning and execution of a Capital Campaign, while maintaining a focus on operational fundraising and donor stewardship. This position requires a results-oriented, strategic thinker with a proven track record of securing major gifts, cultivating long-term donor relationships, and driving successful campaigns. This work is all centered around a New England historic setting, treasured by both residents and seasonal visitors to beautiful Cape Cod.
About The Cape Playhouse
The Cape Playhouse, named one of the 50 Best Small Stage Theatres in America, has a special place in American theatre history as the longest-running professional summer theater in the country. Referred to as the “Place Where Broadway Goes to Summer” by The New York Times, the mission of the Cape Playhouse is “ to inspire, entertain, and educate through exceptional cultural and artistic experiences involving live theatre, cinematic arts, and horticulture within a vital and historic arts community that honors its past and embraces the present.”
The storied history of the Playhouse (https://capeplayhouse.com/category/history-of-the-playhouse/) dates back to the 1920s and its founding by the legendary actor Basil Rathbone who attracted the top stars from both Broadway, the West End, and Hollywood to spend summers on the Cape, appearing in multiple productions in classic summer stock tradition. Entering its 100th year, The Cape Playhouse is the oldest continuously operating summer theater in the U.S. Anchoring a beautiful cultural campus (https://capeplayhouse.com/play-grounds-2/), visitors to the Playhouse enjoy experiencing not only top quality theater, but the opportunity to explore multiple artistic venues and grounds, all in the charming Cape Cod town of Dennis, considered the heart of the Cape. With a laid back lifestyle in picturesque towns and villages, the Cape offers easy access to nature while also providing top quality arts and culture opportunities (https://www.capecodchamber.org/things-to-do/arts-and-culture/). Boston is a 90 minute drive away for ease of access to an international airport and city amenities when desired, so a life in the Dennis area offers the best of both worlds.
Job Description
Essential Duties & Responsibilities
Fundraising Strategy & Leadership
- Lead the design and implementation of a comprehensive fundraising strategy for the Cape Playhouse, focused on both short-term and long-term growth in contributed income.
- Oversee the development and execution of fundraising campaigns, including an upcoming Capital Campaign, annual fund drives, major donor programs, and corporate sponsorship initiatives.
- Cultivate and manage relationships with individual major donors, board members, corporate sponsors, foundations, and government agencies to secure financial support for ongoing operations and capital improvements.
- Collaborate with the Executive Director and Board of Directors to establish annual fundraising goals, set priorities, and ensure alignment with the organization’s mission and vision.
- Develop strategies to identify, engage, and cultivate new donor prospects, leveraging research and networking opportunities.
Capital Campaign Leadership
- Play a leading role in execution and management of the Capital Campaign, working closely with campaign counsel, the Executive Director, and board members.
- Develop and manage timelines, budgets, and strategies for securing gifts for the Capital Campaign, including major and planned gifts.
- Ensure proper stewardship and communication with Capital Campaign donors to maintain long-term relationships and continue engagement throughout the campaign.
Team Leadership & Collaboration
- Provide guidance and leadership in development best practices to ensure effective execution of fundraising activities and strategic goals.
- Work closely with the Marketing and Communications teams to ensure alignment on fundraising messaging, donor communications, and promotional campaigns.
- Partner with other departments to ensure fundraising goals are integrated with programming and operations, maintaining a cohesive organizational strategy.
Operational Fundraising
- Oversee day-to-day fundraising operations, ensuring smooth execution of annual giving programs, donor tracking, and gift processing.
- Monitor fundraising progress, track key performance metrics, and prepare regular reports for the Executive Director, Board, and other key stakeholders.
- Ensure all donor data is maintained accurately in the donor management system, leveraging tools like Tessitura (or similar platforms) to generate reports and analyze trends.
Events & Special Projects
- Lead the planning and execution of major fundraising events, including the Cape Playhouse’s annual gala, donor receptions, and capital campaign events.
- Oversee event logistics, invite lists, RSVPs, and coordination with external partners to ensure successful and impactful fundraising events.
- Assist with other high-priority initiatives as needed, including project management for new fundraising programs or special campaigns.
Skills & Qualifications
- Strategic Vision: Proven ability to design, implement, and assess comprehensive fundraising strategies to meet organizational goals.
- Leadership & Management: Strong leadership skills with a track record of effectively managing and developing fundraising programs.
- Relationship Building: Exceptional interpersonal skills with the ability to build and maintain relationships with donors, board members, and key stakeholders.
- Communications Expertise: Excellent written and oral communication skills, with the ability to craft compelling narratives and presentations to engage donors.
- Fundraising Expertise: Significant experience in major gift fundraising, annual giving, capital campaigns, and corporate sponsorships.
- Analytical Skills: Strong proficiency in analyzing fundraising data, preparing reports, and using donor management systems (e.g., Tessitura, Salesforce).
- Event Management: Extensive experience in planning and executing large-scale fundraising events, from galas to donor receptions.
- Operational Focus: Ability to manage day-to-day fundraising operations while strategically planning for long-term sustainability.
- Artistic Passion: A deep passion for the arts, particularly the performing arts, with a commitment to supporting the mission of the Cape Playhouse.
Education & Experience
- Minimum of 5 years of professional fundraising experience, with at least 3 years in a leadership or senior development role.
- Experience in leading capital campaigns and securing major gifts is strongly preferred.
- A Bachelor’s degree is required. Advanced degrees or certifications in nonprofit management, fundraising, or related fields are a plus.
- Knowledge of the Cape Cod philanthropic landscape is beneficial, but not required.
Compensation
Salary for this position is $90,000 – 100,000, with benefits including health insurance and a generous time off policy with paid holidays and vacation time.
Application Instructions
The Director of Development search is being conducted on behalf of The Cape Playhouse by TOC Arts Partners, a national consultancy aligning strategies, structures, and leadership toward a thriving cultural sector. The search is being led by VP, Executive Search Cynthia Fuhrman, in consultation with and support from the TOC Arts Partners search team.
To apply, visit the online application (https://tocartspartners.com/jobs-listing/the-cape-playhouse-director-of-development) and submit your materials. Your cover letter should include any training or experience relevant to the job profile that you would like to highlight, why you consider yourself a good fit for this opportunity, and anything else you’d like us to know about your qualifications that may not be present in your resume. Applications will be accepted until this role is filled, but for best consideration we encourage you to apply by March 20.
For general questions or nominations of prospective candidates, please contact searchteam@tocartspartners.com. We kindly request no phone calls.
Specific questions about the position may be directed to:
Cynthia Fuhrman
VP, Executive Search
cynthia@tocartspartners.comNot sure you meet 100% of our qualifications? Research shows that cis men apply for jobs when they fulfill an average of 60% of the criteria, while others tend only to apply if they meet every requirement. If you believe that you could excel in this role, we encourage you to apply.
We are dedicated to considering a broad array of candidates, including those with diverse workplace experiences and backgrounds. So, whether you’re returning to work after a gap in employment, simply looking to transition, or taking the next step in your career path, we will be glad to have you on our radar.
EEO STATEMENT
The Cape Cod Center for the Arts/Cape Playhouse is an equal opportunity employer, and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, gender identity, sexual orientation, or any other characteristic protected by law. - Dallas Black Dance Theatre seeks Executive Director
Organization
Dallas Black Dance Theatre (DBDT), based in Dallas, Texas, is dedicated to creating and producing contemporary modern dance at the highest level of artistic excellence through performances and educational programs that bridge cultures and communities. Founded in 1976 by Ann M. Williams, following the establishment of the Dallas Black Dance Academy in 1973, DBDT was born from a powerful vision: to inspire underrepresented youth, expand access to dance as an art form, and serve as a professional role model for Black dancers. Today, DBDT serves ever-expanding national and global audiences while employing a diverse, multi-ethnic company of artists, presenting work across multiple venues within the Dallas area, including the Dee & Charles Wyly Theatre (Main Company, 551 seats), Moody Performance Hall (Encore!, 750 seats), The Majestic Theatre (Espresso Nutcracker, 1,704 seats), and the Latino Cultural Center (Academy Recital, 300 seats).
Entering its 50th year as the oldest continuously operating professional dance company in Texas and Dallas, DBDT is a $4 million organization that presents a rich and varied repertory, including modern dance, ballet, jazz, and culturally rooted works by nationally and internationally acclaimed choreographers. Over its history, DBDT has reached more than five million arts patrons and three million children worldwide, currently engaging approximately 50,000 K–12 students annually through performances and educational initiatives. These efforts reinforce DBDT’s long-standing commitment to artistic excellence, cultural connection, and broad community impact.
To support artistic development and meet growing demand, DBDT expanded its organizational structure with the launch of DBDT: Encore! in 2000 as its second performing company. This ensemble of classically trained dancers from across the country presents an annual season at the Moody Performance Hall. Complementing the DBDT’s two companies, the Dallas Black Dance Academy provides comprehensive dance education for students ages four and up, offering multiple levels of ballet, jazz, tap, and other disciplines and training more than 550 students each week at the DBDT Studios.
DBDT has been headquartered since 2008 at its permanent home in the Dallas Arts District, a renovated historic Moorland YMCA building that now houses rehearsal studios, classrooms, and administrative offices. DBDT has historically served on the board of the Dallas Arts District. DBDT’s artistic achievements have earned significant recognition, including designation as an American Masterpiece Touring Artist by the National Endowment for the Arts and the Texas Medal of Arts. Known equally for innovation, DBDT pioneered paid virtual performances during the COVID-19 pandemic, reaching audiences in more than 30 countries. As a resident company of the AT&T Performing Arts Center, DBDT now serves approximately 125,000 people annually, continuing Ann Williams’ legacy while embracing new opportunities to inspire and connect with audiences worldwide.
DBDT has a 28-member board of directors led by Board Chairman and President Jack Skinner. The executive director oversees an administrative staff of 17, including the managing director, director of facilities and operations, director of marketing and public relations, director of administration and board liaison, and senior director of development. For the year ending May 31, 2026, DBDT expects a total revenue of $4.2 million, including 79% from contributed sources (including individual donors, events, foundations, corporations, grants, and government), and 21% from earned revenue (season performances, touring, and Academy).
Sources: edited from dbdt.com; propublica.org
Community
Situated on the ancestral lands of the Wichita, Tawakoni, and other Caddoan-speaking tribes, Dallas, Texas, is home to approximately 1.3 million residents and anchors one of the nation’s fastest-growing metropolitan regions. The Dallas–Fort Worth–Arlington metroplex, with more than 7.7 million people, is the fourth largest in the United States and is known for its economic vitality, cultural diversity, and strong civic and philanthropic leadership. The region offers a high quality of life, combining a dynamic urban core with accessible neighborhoods, strong schools, and a cost of living that remains comparatively affordable among major U.S. cities.
Arts and culture are central to Dallas’s identity and civic life. The Dallas Arts District, the largest contiguous urban arts district in the United States, is home to world-class institutions including the Dallas Museum of Art, Nasher Sculpture Center, AT&T Performing Arts Center, Dallas Symphony Orchestra, and Dallas Theater Center. The city supports a robust ecosystem of artists, cultural organizations, and arts education initiatives, complemented by strong philanthropic investment and community engagement. Together, these qualities make Dallas and North Texas an appealing place to live and lead, particularly for those drawn to creativity, cultural impact, and the opportunity to shape a rapidly evolving city.
The Arts District was established more than 40 years ago with the bold vision that arts and culture would play a central role in shaping Dallas’s growth and identity, and that vision has proven transformative. Since 2018, the district has expanded its footprint and vibrancy with the opening of a luxury hotel and two high-rise residential developments, further integrating arts, hospitality, and urban living into a dynamic, walkable environment. These additions have strengthened the Dallas Arts District as both a cultural destination and a thriving mixed-use neighborhood, drawing residents, visitors, and businesses into its creative core. Today, the Dallas Arts District stands not only as a symbol of sustained civic investment in the arts but also as a powerful example of how cultural infrastructure can anchor economic development, community engagement, and long-term urban vitality.
Sources: visitdallas.com/arts; dallasartsdistrict.org; census.gov
Position Summary
The Executive Director of the Dallas Black Dance Theatre will provide bold, strategic leadership to strengthen financial stability and advance DBDT’s artistic excellence, educational impact, and community engagement. Reporting to the Board of Directors, the Executive Director will work in close partnership with the Artistic Director to steward DBDT’s legacy while positioning the organization for sustained growth, innovation, and expanded visibility.
The Executive Director will hold shared responsibility along with the Artistic Director for organizational leadership to ensure the overall health of the organization. The Executive Director is responsible for operational leadership, financial oversight, revenue growth, external relations, and administrative management. Serving as DBDT’s primary ambassador and spokesperson, this individual will cultivate strong relationships with the Board, staff, artists, donors, civic leaders, and community stakeholders. Through transparent communication, disciplined planning, and values-driven decision-making, the Executive Director will guide DBDT’s long-term strategy and ensure its continued relevance and impact.
Roles and Responsibilities
Strategic Leadership
• Develop and execute a long-term strategic plan aligned with the mission of DBDT in collaboration with the Board of Directors.
• Identify and develop strategic partnerships to strengthen DBDT’s visibility and reputation locally, nationally, and internationally.
• Foster a culture of innovation, inclusivity, collaboration, artistic excellence, and accountability.
• Support strategic decision-making that inspires a business-oriented, professional, and purposeful environment throughout DBDT.
• Embrace other strategic leadership responsibilities as needed.Financial and Operational Management
• Provide oversight and management of all financial operations to ensure fiscal integrity, stability, and sustainability while incorporating nonprofit and dance industry best practices.
• Work closely with the finance committee, staff, and auditors to develop and monitor annual budgets according to current laws and regulations.
• Oversee the work of the accounting staff to ensure the preparation of timely financial reports for Board review and annual financial audits, while maintaining knowledge of daily cash flow and finances.
• Ensure that DBDT’s assets, including its documents and records of activity, are maintained through a documented and secure system of internal controls.
• Embrace other financial and operational management responsibilities as needed.Development and Fundraising
• Serve as the chief fundraising liaison by initiating, cultivating, and stewarding relationships with all major donors, including foundations, corporations, government funding agencies, and individuals.
• Provide strategic leadership and oversight of all fundraising and development efforts in collaboration with the Development Director and members of the DBDT Board of Directors.
• Develop, secure, and expand diversified revenue streams.
• Establish and grow an endowment fund to position DBDT for financial stability.
• Represent DBDT at community, philanthropic, and arts sector events to expand its funding base.
• Embrace other development and fundraising responsibilities as needed.Board and Labor Relations and Governance
• Serve as primary liaison between the Board of Directors and the organization’s management team by providing reports and updates on staff and current work during each Board meeting.
• Support effective Board governance by providing timely and transparent communication to enable all members to exercise their full governance and service potential.
• Assist with the identification, recruitment, and orientation of new board members.
• Collaborate with the Artistic Director to ensure compliance with all collective bargaining agreements.
• Negotiate, interpret, and provide oversight to union contracts in coordination with legal counsel and DBDT human resources.
• Foster a respectful, inclusive, and transparent workplace culture that supports all employees.
• Embrace other Board and labor relations and governance responsibilities as needed.Artistic and Program Collaboration
• Partner with the Artistic Director to align programming with DBDT’s mission and audience development goals while balancing operational and financial priorities of the organization.
• Advocate for artistic excellence and support community outreach and educational programs that expand access to dance and the arts.
• Encourage creative partnerships with other cultural and community organizations.
• Embrace other artistic and program collaboration responsibilities as needed.External Relations, Marketing, and Communications
• Function as the organizational spokesperson for DBDT, representing its values and mission across diverse platforms.
• Foster relationships with civic leaders, educational institutions, and cultural partners.
• Act as a liaison to the Dallas African American community.
• Advocate for the role of dance and artistic excellence in the broader arts ecosystem.
• Oversee all aspects of the organization’s external communications, marketing strategies, and public relations, adjusting to expand reach and increase visibility as needed.
• Embrace other external relations, marketing, and communications responsibilities as needed.Organizational Leadership and Culture
• Contribute to a healthy, equitable, and collaborative workplace, in collaboration with the Artistic Director, by maintaining a climate that attracts, retains, and motivates capable team members.
• Direct and supervise Director-level staff, ensuring that all departments function cohesively and effectively toward shared goals.
• Use financial controls to support accountability and ensure a healthy, equitable culture across DBDT.
• Implement policies and procedures that reflect DBDT’s commitment to multiculturalism, equity, and inclusion.
• Promote professional development and staff retention through strong internal leadership.
• Oversee human resources management strategies, plans, and all related hire-to-retire policies and procedures.
• Partner with the Board Human Resources committee and the Artistic Director to implement policies and procedures.
• Embrace other organizational leadership and culture responsibilities as needed.Traits and Characteristics
A collaborative, visionary, and transparent leader, the Executive Director will be recognized for their ability to drive transformation and action that advances the impact of the Dallas Black Dance Theatre. An effective communicator and bridge builder, the Executive Director will excel in cultivating relationships across many types of constituents and groups. The Executive Director will value flexibility and innovation, value team and culture building, and possess a deep awareness of issues and trends impacting the dance sector regionally and nationally.
Other key competencies include the following:
• Leadership & Personal Accountability – The clarity to use positional and relational influence to organize people to pursue a collective vision, managed with a sense of purpose and direction.
• Diplomacy & Customer Focus – The integrity to uphold the highest ethical standards while exhibiting tact, supporting members of the DBDT and Dallas communities.
• Time and Priority Management & Teamwork – The ability to work within a team to prioritize, manage, monitor, and complete multiple complex tasks, mobilize wide-ranging resources, and deliver to drive outcomes within allotted time frames.
• Conceptual Thinking – The dexterity to analyze DBDT’s current capacities, patterns, and/or abstract concepts to formulate connections and new insights.Qualifications
A minimum of 10 years of senior executive leadership experience in a comparable senior role in the nonprofit sector is required. Strong business acumen, visionary leadership, and a demonstrated ability to partner effectively with nonprofit boards and diverse stakeholders are essential. Broad knowledge of nonprofit management, including fundraising, finance, marketing and communications, and human resources, is required, along with the capacity to navigate complex, political, and dynamic civic environments. A proven record of building, motivating, and mentoring high-performing teams is crucial. Excellent written and oral communication skills, along with strong project management capabilities, are expected and grounded in values of collaboration, inclusion, integrity, and authenticity. Experience working with unionized staff and collective bargaining agreements is strongly valued. A bachelor’s degree is required; an advanced degree in arts administration, business, or a related field is preferred.
Compensation and Benefits
DBDT provides a competitive and equitable compensation package with an estimated base salary in the range of $160,000 to $200,000. Benefits include employer-paid medical coverage at 90% of the premium and 100% employer-paid life insurance (including a $10,000 policy), along with options for employee-paid dental, vision, and supplemental life insurance. DBDT also offers a Flexible Spending Account and a 100% match, up to 3% of annual salary on employee contributions to an IRA retirement plan. Additional benefits include 10 paid federal holidays, a fully paid week off between Christmas and New Year’s, standard PTO for sick, personal, and bereavement leave, one week of paid vacation after one year of service, and a generous $5,000 annual professional development stipend. Relocation assistance will be provided to candidates if needed.
Applications and Inquiries
To submit a cover letter and resume with a summary of demonstrable accomplishments (electronic submissions preferred), please visit https://artsconsulting.com/opensearches/dallas-black-dance-theatre-seeks-executive-director/
Dallas Black Dance Theatre has adopted a core value system that embraces all cultures to
strengthen the organization by working together for a common purpose that delivers
transformative experiences for all.With no exclusions, Dallas Black Dance Theatre offers services to the entire population,
regardless of race, age, or circumstance. Since its founding, DBDT’s innovative approach to
equity, diversity, and inclusion has been based on a dedicated commitment to lead by
example and actively implement change rather than only conceptualize results. Established
by its Board of Directors, this initiative is fulfilled through the organization’s mission to
bridge cultures, reach diverse communities, and encompass ever-expanding global
audiences. - The Supreme Court just unleashed the Era of Radioactive Artist IP
Authorship used to be a status granted by an act of creation. Now it will be a status you will have to defend through paperwork. We have moved from the era of the romantic “lone genius” to the era of the administrative author who will need to “prove” the machine didn’t make it. - Too Many Basket Weavers?
Ontario is one of the provinces to see the highest economic impact from the sector, according to the report. – The Conversation
- Turmoil At This Year’s Berlinale Has Some Wondering If Germany Can Run Big Cultural Events
Some “wonder if the German government’s views on permissible speech, shaped by its sense of responsibility for the Holocaust and desire to stop antisemitism, make it impossible to run top-tier cultural events in the country.” – The New York Times
- The Louvre Scandals And A French President’s Legacy
France’s president, Emmanuel Macron, is at risk of losing what could be a legacy-defining cultural project: a $1 billion-plus refurbishment of the Louvre, which would include moving the Mona Lisa, the museum’s most famous painting, to its own room and building a new entrance. – The New York Times
- How Paramount Finally Succeeded At Buying Warner
As much as David Ellison and his team had been telling anyone who would listen that his business would ultimately prevail in buying a company five times its size, the reaction on Friday from Hollywood to Washington to Wall Street was astonishment. – The Wall Street Journal
- In Walking Away, Netflix Won The Warner Deal
For Netflix, such a deal would have complicated the business model for a company that had already vaulted to a leading position in Hollywood on its strength as a streaming pure-play. – The Wall Street Journal
- Live Nation Antitrust Trial Begins — Will The Music Juggernaut Be Broken Up?
For Live Nation, the stakes are high — a possible breakup of the company, or at least a disruption of the lucrative business model that over the last 16 years has made it a colossus of the music industry. – The New York Times
- How A Phone Ban Changed One School
Anton Caldwell, Shawnee’s librarian for more than 20 years, says he knew right away the ban was working. The number of students visiting the library increased, and so did the number of books they’re reading. – NPR
- Mamdani Picks A New Culture Commissioner For NYC
An experienced curator with a community-forward approach, she has held several key positions at Creative Time, the High Line, and elsewhere. She has even worked at the DCLA from 2014 to 2019. – Hyperallergic
- Warning: Age Verification Laws For Social Media Are A Disaster
While social media bans may seem like a prudent measure to protect children, they are not only ineffective, they endanger both children and adults. There is little evidence that social media is driving any type of widespread mental health crisis in children. – The Guardian
- The Actor Awards Showed That An Awards Presentation Could Actually Be Kind Of Fun
“Because it streamed on Netflix, there was no bleeping of F-bombs. Winners were not played off by an orchestra. The banter was not as stiff as the scripted dialogue we expect from the Oscars.” – Washington Post (Yahoo)
