{"id":1202,"date":"2025-02-04T14:00:00","date_gmt":"2025-02-04T14:00:00","guid":{"rendered":"https:\/\/www.artsjournal.com\/scenechange\/?p=1202"},"modified":"2025-01-29T06:59:23","modified_gmt":"2025-01-29T06:59:23","slug":"the-case-for-support-mixed-blood-theatre-produces-positive-quantifiable-impact-for-the-people-of-minneapolis","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/scenechange\/2025\/02\/04\/the-case-for-support-mixed-blood-theatre-produces-positive-quantifiable-impact-for-the-people-of-minneapolis\/","title":{"rendered":"The Case for Support: Mixed Blood Theatre Produces Positive, Quantifiable Impact for the People of Minneapolis"},"content":{"rendered":"\n

There is a theater company sitting right in the heart of America that dedicates every activity, every program, and every human interaction to the notion of radical hospitality.<\/strong><\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

The idea of \u201cradical hospitality\u201d is not new.<\/p>\n\n\n\n

The Torah: \u201cThe strangers who sojourn with you shall be to you as the natives among you, and you shall love them as yourself; for you were strangers in the land of Egypt\u201d (Leviticus 19: 33\u201334).<\/p>\n\n\n\n

The New Testament: \u201cWhat you do to the least of my brethren you do unto me\u201d (Matthew 25:40).<\/p>\n\n\n\n

The Quran: \u201cServe God\u2026 and do good to\u2026 orphans, those in need, neighbors who are near, neighbors who are strangers, the companion by your side, the wayfarer that you meet, and those who have nothing\u201d (4:36).<\/p>\n\n\n\n

The Hindu scripture Taittiriya Upanishad: \u201cThe guest is a representative of God.\u201d<\/p>\n\n\n\n

These are not extremist views. In fact, radical hospitality serves as a North Star to most nonprofit organizations whose purposes are about lifting those who need it.
In the world of nonprofit arts<\/em> organizations, however, radical hospitality is difficult to find. Some use the phrase because their leaders (or often, one leader) may want to incorporate the most generous assistance possible, above and beyond the norm.<\/p>\n\n\n\n

However, when some of these arts organizations come into contact with financial distress, the \u201cluxury\u201d of radical hospitality disappears for the perceived \u201cnitty-gritty\u201d of producing a subjective notion of excellence.<\/p>\n\n\n\n

The best nonprofits work the other way around. Community impact is far more important than any structured program.<\/p>\n\n\n\n

Welcome to the Mixed Blood Theatre Company.<\/strong><\/p>\n\n\n\n

The core of its mission \u2014 \u201cMixed Blood uses theater to disrupt injustice\u201d \u2013 reveals its nature as a social justice organization that happens to use art as a tool, not as a product. This is exactly what all nonprofit arts organizations could do, but refuse due to some preconceived, unbacked notion that the production of art is the service to the community.<\/p>\n\n\n\n

\u201cI think it\u2019s clear that many of our theaters have distanced themselves from their audience and community,\u201d said Mark Valdez, the artistic director for Mixed Blood. \u201cAs the field professionalized, that gap grew. Now we look down on community theater, when before most small towns supported one or two theaters and an opera house. Funders pushed the field to structure themselves as corporations, and so regions lost acting companies. Executive directors and managing directors eventually took the reins from artistic directors (who, to be fair, just as often handed those reins over). Our field sold itself out. Separated itself. Now we wonder why nobody cares about our organizations and our work. Duh!\u201d<\/p>\n\n\n

\n
\"\"<\/a>
Mark Valdez<\/figcaption><\/figure>\n<\/div>\n\n\n

Valdez is no stranger to the field. With a career spanning more than 20 years, he has created a wide range of work and has been recognized with a 2021 Zelda Fichandler Award and an inaugural 2021 California Arts Council Legacy Artist Fellowship.<\/p>\n\n\n\n

What separates Mixed Blood from its competition is simple. The company does not see its impact as being artistically focused. It does no art for the sake of indulgence. It always intends to serve those who need it, at all costs.<\/p>\n\n\n\n

\u201cWe are first a social justice organization, then a theater,\u201d explained Valdez. \u201cWe use theater to achieve our social justice aims.\u201d<\/p>\n\n\n\n

In every activity and every decision, Mixed Blood ensures that its service to the community is nontoxic, intended to serve those in the community.<\/p>\n\n\n\n

\u201cRadical hospitality includes no-cost admission,\u201d said Valdez. \u201cWe rely exclusively on donations. We have wealthy donors, but they support our organization for the benefit of the community, not themselves. In fact, few of those donors participate in our programing.\u201d<\/p>\n\n\n\n

\u201cAs for serving the public need,\u201d he continued, \u201cwe are increasingly creating work with community members. We want them to have agency in the work. We boost civic imagination, working around pressing civic issues such as affordable housing, health, and climate resilience. Our work aims to provide opportunities for audiences to do something, believing that if they can do one thing, they can do something else. Our work is driven towards taking action.\u201d<\/p>\n\n\n\n

And there is a public need.<\/p>\n\n\n\n

The infamous 2020 murder of George Floyd by a police officer who knelt on his neck for eight minutes and forty-six seconds did not indicate a new type of local police violence, but a continuation and exacerbation of old racial sores that did not heal the wounds predicated by racial covenants (segregationist legal rules inserted into property deeds and titles that made it impossible for land to be owned by non-White people). Those racial covenants forced Black people, for example, to live in only a few pockets of the city of Minneapolis. Even though those covenants were made illegal in 1968 by the Fair Housing Act, their scars resulted in a 2019 study by 24\/7 Wall Street that named the Twin Cities as the fourth worst metropolitan statistical area in the United States for Black citizens.<\/p>\n\n\n\n

One neighborhood that allowed Black residency was near the corner of 38th Street and Chicago Avenue, the very corner at which George Floyd was murdered. As Olivia B. Waxman reported in the May 28, 2020, edition of Time Magazine (three days after the killing):<\/p>\n\n\n\n

\"\"<\/a>
Photo by Lorie Shaull from flickr is licensed under CC BY 2.0.<\/figcaption><\/figure>\n\n\n\n
\n

\u201cFloyd\u2019s death \u2018falls within a larger pattern\u2019 of clashes between police officers and residents in black communities that \u2018goes way back to the period of Reconstruction, when a lot of police departments were created to surveil black communities and control and corral large black populations,\u2019 said Keith A. Mayes, a professor of African American & African Studies at the University of Minnesota, Twin Cities.\u201d<\/p>\n<\/blockquote>\n\n\n\n

There are numerous arts organizations in and around Minneapolis. But as liberal as the state\u2019s voting record has been through the years (it was the one state that voted for favorite son Walter Mondale in the presidential election of 1984), the city is split along racial lines. Among the arts organizations, that community bifurcation has led to a history of large, predominately White nonprofit arts organizations (the Guthrie Theatre, for example) that serve their privileged donors and audiences, paying token attention to the people not included, not represented, and not respected.<\/p>\n\n\n\n

Mixed Blood has found that to be both hindrance and opportunity. Their strengths are found in performing social justice activities for those historically overwhelmed.
\u201cSince its founding, Mixed Blood has centered those most on the margins,\u201d said Valdez. \u201cAs a social justice organization, we want to use our work to influence public policies, knowing that much of the discrimination and bias in place is enshrined in our laws. We\u2019re focusing on greater affordable housing, equitable healthcare, and climate resilience. BIPOC communities are often hit first and hardest by climate change.\u201d<\/p>\n\n\n\n

\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\n\n\n\n

It should be self-evident, but it\u2019s often a good reminder to nonprofit arts organizational leaders and board members that work that positively impacts the least privileged among us benefits all of us.<\/em> While most arts organizations believe that their collective purpose is to produce artistic excellence \u2014 even to the detriment of including its own community\u2019s artists (instead hiring those from arts hubs such as Toronto, Chicago, New York, and Los Angeles) \u2014 Mixed Blood is a very personal, very local, couldn\u2019t-exist-anywhere-else point of Minnesota joy. It\u2019s the kind of work that allows a leader like Valdez to look up and visualize instead of down and weep.<\/p>\n\n\n\n

\u201cI want to be of use, useful to my community and the greater society,\u201d he said. \u201cSimilarly, I want our theater to be useful to its community. Can we build civic imagination to see past the dystopian futures pop culture feeds us? Can we co-daydream beautiful futures? Artmaking lets us build consensus, make meaning, foster belonging, build worlds, and rehearse actions. These skills, these actions are vital to the health of our communities. There is no lasting solution to the giant social challenges we are facing that doesn\u2019t include the arts. It\u2019s our time to take leadership.\u201d<\/p>\n\n\n\n

\"\"<\/a>
Photo from 2017 production of \u201cVietgone\u201d by Qui Nguyen<\/figcaption><\/figure>\n\n\n\n

When financial duress happens, how does the connection to the community continue?<\/p>\n\n\n\n

\u201cCommunity is not a monolith. When faced with financial hardships, we have to look at the various communities we serve. One of those communities is our own staff. We have a responsibility to care for our staff, the people at the organization who are doing the work. Then we ask how this group can serve our other communities? For instance, at the moment [2024], we are currently producing fewer shows in our own facility. We are doing more work outside our building, meeting the community members where they are \u2014 not necessarily with fully produced plays, but with mobile, flexible work that feeds the imagination and creates a forum for action and discussion.\u201d<\/p>\n\n\n\n

The flexibility of the company stems from its interpretation of radical hospitality. When faced with challenges, they seek the ways in which to help those who need it over those who merely want it. And that includes its own staff.<\/p>\n\n\n\n

\u201cThere is a tension,\u201d explained Valdez, \u201cthat every employee holds, from entry level to top management: the balance between mission alignment and amount of salary. We try to remain aware of that balance, paying people fair wages and looking for individuals who have common values, whose skills augment others\u2019 deficits. It\u2019s not a science, rather alchemy. Sometimes you get it wrong and need to course correct. That\u2019s usually unpleasant, but necessary. When it works, though, you feel it. You see it in how the team works. Individual leadership and care for the community (our own community).\u201d<\/p>\n\n\n\n

\"\"<\/a>
Mixed Blood\u2019s \u201cNorthside Vibe,\u201d a cultural and storytelling series (Photo by Rich Ryan)<\/figcaption><\/figure>\n\n\n\n

The power of the arts is not limited to exuding beauty, providing an escape, or showcasing artistic skills. In fact, those aren\u2019t community powers at all. Any or all might be present within a particular artistic activity, but the value comes from the tangible, quantified positive impact the company has on the community\u2026 just like any other kind of nonprofit.<\/p>\n\n\n\n

Mark Valdez gets up in the morning to \u201cserve my community and the greater society. That provides meaning for my life. Theater lets me serve; to do good.\u201d Shouldn\u2019t that be why every nonprofit arts organization exists? Isn\u2019t that more deserving of a seven-figure check than one that merely puts on a great show?<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

In case you\u2019re wondering, I\u2019m a donor to Mixed Blood. They\u2019re a beacon of charity in a nonprofit arts sector in which there are few\u2026for now. And as I would do with a good movie, a great restaurant, or a terrific store, I want you to share in my good fortune for having found them. Send them a donation. They deserve it.<\/p>\n\n\n\n

And it goes without saying, but the cynics among us request this: no, they paid not a cent for this article. This is not an \u201cadvertorial.\u201d In the coming months, I\u2019ll continue to feature more companies that walk the walk \u2014 if for no other reason than to show you that it is, in fact, possible to use art as a tool and not as a product. And to national foundation program directors: do a mitzvah<\/em> and include Mixed Blood in your giving portfolio. They\u2019ll make your foundation more valuable.<\/p>\n\n\n\n

\n\n\n\n
\"\"<\/a>
If you’d like your nonprofit arts organization to be as impactful and successful as Mixed Blood, why not pick up copies of both books in the SCENE CHANGE series? It’s a great way to increase innovation, improve communication, and just have a better chance of making your community a better place to live. At less than $12 a copy for SCENE CHANGE 2: THE FIVE REAL<\/strong> RESPONSIBILITIES OF NONPROFIT ARTS BOARDS, you’ll want to get one for each board member!<\/figcaption><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n","protected":false},"excerpt":{"rendered":"

There is a theater company sitting right in the heart of America that dedicates every activity, every program, and every human interaction to the notion of radical hospitality. The idea of \u201cradical hospitality\u201d is not new. The Torah: \u201cThe strangers who sojourn with you shall be to you as the natives among you, and you […]<\/p>\n","protected":false},"author":2,"featured_media":1203,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[21,20,22,100,40,32,29,28,23,24,19,18,17,99],"tags":[10,131,130,50],"class_list":{"0":"post-1202","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-culture","8":"category-board-of-directors","9":"category-board-of-trustees","10":"category-book-recommendation","11":"category-change","12":"category-charity","13":"category-dei","14":"category-diversity-equity-inclusion","15":"category-executive-director","16":"category-freedom-of-speech","17":"category-leadership","18":"category-nonprofit","19":"category-nonprofit-arts-organizations","20":"category-scene-change","21":"tag-impact","22":"tag-minneapolis","23":"tag-mixed-blood","24":"tag-nonprofit-management","25":"entry"},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.artsjournal.com\/scenechange\/wp-content\/uploads\/2024\/11\/61-MB-BW1.jpg?fit=1000%2C627&ssl=1","jetpack-related-posts":[{"id":989,"url":"https:\/\/www.artsjournal.com\/scenechange\/2024\/07\/01\/this-just-in-a-new-and-unedited-review-for-scene-change\/","url_meta":{"origin":1202,"position":0},"title":"This Just In: A New (and Unedited) Review for \u201cSCENE CHANGE\u201d","author":"Alan Harrison","date":"July 1, 2024","format":false,"excerpt":"\"It clearly comes from a place of love for the subversive and utopian possibilities of the arts.\"","rel":"","context":"In "Arts and Culture"","block_context":{"text":"Arts and Culture","link":"https:\/\/www.artsjournal.com\/scenechange\/category\/arts-and-culture\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/scenechange\/wp-content\/uploads\/2024\/07\/Collective-Ink-Book-Cover.jpg?fit=1080%2C1080&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/scenechange\/wp-content\/uploads\/2024\/07\/Collective-Ink-Book-Cover.jpg?fit=1080%2C1080&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/scenechange\/wp-content\/uploads\/2024\/07\/Collective-Ink-Book-Cover.jpg?fit=1080%2C1080&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/scenechange\/wp-content\/uploads\/2024\/07\/Collective-Ink-Book-Cover.jpg?fit=1080%2C1080&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.artsjournal.com\/scenechange\/wp-content\/uploads\/2024\/07\/Collective-Ink-Book-Cover.jpg?fit=1080%2C1080&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1517,"url":"https:\/\/www.artsjournal.com\/scenechange\/2025\/10\/07\/a-punchy-outspoken-argument-for-how-nonprofit-arts-organizations-should-be-run\/","url_meta":{"origin":1202,"position":1},"title":"“A PUNCHY, OUTSPOKEN ARGUMENT FOR HOW NONPROFIT ARTS ORGANIZATIONS SHOULD BE RUN.”","author":"Alan Harrison","date":"October 7, 2025","format":false,"excerpt":"\"An example-driven new map to success in the realm of nonprofit theater.\" \u2014 Kirkus Reviews.","rel":"","context":"In "Arts and Culture"","block_context":{"text":"Arts and Culture","link":"https:\/\/www.artsjournal.com\/scenechange\/category\/arts-and-culture\/"},"img":{"alt_text":"Scene Change, Scene Change 2, and Scene Change 3 - 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Land. Let the current passengers deplane. 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