One of the most promising success stories in Dallas arts has been the meteoric rise of the Dallas Black Dance Theater. Founded by Ann Williams in 1976, DBDThas grown from a community-based organization to a respected company with an national and international reputation. We asked Williams about her start and Dallas’ arts community.
FrontRow: Your dance company started as a community-based organization. What part did the Dallas community play in the initial growth of the Dallas Black Dance Theater
Ann Williams: DBDT started out as an outgrowth of the Academy (the dance school). Support first came from student’s parents, family, and friends. They supported us because their teachers were dancers at that time. All of the organizations I was a member of, and associated with, were supporters including: fraternities, sororities, civic, YWCA, Chamber of Commerce, Urban League, Jack and Jill of America, The Links, Inc, bridge clubs and churches. They were all supporters in the development of DBDT. I am lucky and thankful to have had the opportunity to bring the community throughout our 35 years.
FR: You’ve directed the DBDT since 1976. If you were to start a dance company in the current day, how would the concerns compare in terms to problems and barriers you faced starting your company?
AW: The concerns would be different because knowing what I know now I would want corporate, foundation, and individual support before building a true community based support. At the time I started my company I did not seek corporate or foundation support because of the community based awareness we were known for. Mobil Oil (EXXONMOBIL today) and 500, Inc. were the first two to support us. I travel around the state and nation as an Arts Consultant, and I remind organizations to build a community base before desiring corporate and foundation money. Corporate and foundation money will come because once you have a community base you have proof that you are providing a service.
FR: How have you been able to cultivate your company’s national and international reputation?
AW: I think our National and International reputation has come from the Artistic level of our performers and the repertory we have acquired. Throughout the years I’ve also tried to program our programs with different ballets that make for an enjoyable evening as well as show the artistic skill of DBDT’s great dancers. Our repertory is varied, ranging from great emerging innovative choreographers as well as master choreographers, and that causes word to get around that our program sells tickets. We attract contemporaries and art lovers of all ages and can sell out a house with the proper marketing.
FR: What is Dallas’ biggest short coming as an artistic community?
AW: A master calendar in many instances and in-kind public and print media support. It is hard to get the TV, radio and newspaper support for the arts. It is very expensive to purchase what it takes to make an impact. Dallas has a great artistic community, but many times my friends are torn between which event to attend because they’re happening on the same weekend. Many families can’t afford more than two events a month.
FR: Will the AT&T Performing Arts Center have a game-changing effect on the performing arts in Dallas and the success of local performing arts groups in the long term?
AW: I feel the AT&T Center will have a game-changing effect on the performing arts in Dallas. We are beginning to see that especially now with the new banners and the collaborations going on. As I said earlier: what is needed is a master arts calendar that ties into what the arts district organizations are presenting.
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