In early March, the staff of the International Festival of Arts & Ideas was about to announce its 25th anniversary events to be held over two weeks in June. Then the pandemic hit and in a matter of days theaters, museums, arts centers and festivals announced shutdowns. But with the benefit of an on-staff digital […]
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In early March, the staff of the International Festival of Arts & Ideas was about to announce its 25th anniversary events to be held over two weeks in June.
Then the pandemic hit and in a matter of days theaters, museums, arts centers and festivals announced shutdowns.
But with the benefit of an on-staff digital producer, the staff quickly moved forward with a virtual celebration with free online programming that included interactive conversations with artists and scholars, online workshops, virtual food experiences, and cell phone-guided walking tours.
“As a result of being online we saved money on the production side of things because we weren’t paying for physical space, ushers, crews, rigging or physical production materials,” says Shelley Quiala, who took over in August as the festival’s new executive director.
Without having to produce a physical festival — which typically brings together world-class artists, thinkers, and leaders for live events and discussions to showcase New Haven as a global city — its $2.5-million budget saw $600,000 in savings. Also helping was special fundraising events throughout the year and a financial bump in giving because of the festival’s 25th anniversary. The nonprofit's only negative was not capturing about $200,000 in annual ticket revenue, but that makes up less than 10% of the budget.
The festival ended the fiscal year on Sept. 30, with a $700,000 surplus — a major feat for a nonprofit arts organization amid a once-in-century pandemic.
It also gave a boost in June to the struggling local economy with the festival’s only paid events: the KeyBank Food Series, which created an interactive meal experience with local chefs, and Arts on Call, a live outdoor concert that entertained nearly 1,500 socially distant guests. Those events collectively raised more than $45,000, which went directly to the participating local businesses and artists.
The festival’s reach, as it turned out, was more international than ever. More than 120,000 people from around the world — including viewers from China, South Africa, France, Germany and Pakistan — connected digitally to the festival, which typically attracts around 100,000 fans in person.
“There was such engagement,” says Quiala, “and I don’t see that hunger going away, especially as we become a more digital world, especially with connections to young people who are used to using that technology. The digital stage has provided us with a lot of opportunities, giving us the chance to engage far beyond what we do on the ground — and we want to expand on that. We want to absolutely come back in person, but I don't see the festival ever walking away from the digital stage.”
Changing leadership
Quiala is heading a staff that has seen many leadership changes in the last three years, starting with the exit in 2017 of Executive Director Mary Lou Aleski, followed by program director Chad Herzog leaving New Haven for an executive arts position at the University of Arizona.
Liz Fisher, who has been with the festival since its beginning overseeing business management, and Tom Griggs, who has been director of development since 2014, announced their retirements last fall, but will remain with the festival part time through next September. They also served as co-directors of the festival since 2017.
Quiala said she will be hiring for several key positions, including a director of programming and community impact and development and finance directors. With her new team in place in the spring, Quiala will initiate a new long-term strategic study, something that hasn’t been done in seven years.
In terms of revenue, the festival is in the best shape it’s been in, in years. The $700,000 surplus will boost its capital reserve to $2.5 million.
Individual giving is now the cornerstone of financial support following the launch in 2013 of its Fund for the Future drive, which over several years raised $2.7 million.
The nonprofit will also focus on legacy gifts rather than corporate, foundation, state and city giving, all of which have become less reliable in recent years.
Conversations are now happening about the 2021 festival among artists who, she says, are thinking in broader terms of adapting to outdoor and digital spaces.
“Rather than attempting to gather people in large numbers in one space we will be looking at the city as our canvas,” she said. “We will adapt to whatever limits there may be to physical restrictions. This is a time in the performing-arts industry that requires creativity and resilience and new ways of doing things because of the pandemic and the social movements that are happening.”
