Arts, Culture, and Humanities

BOND STREET THEATRE COALITION LTD

Peacebuilding, empowerment & healing through theatre

aka Bond Street Theatre

New York City, NY

Mission

Bond Street Theatre Coalition, a non-profit, 501(c)(3) corporation, initiates creative arts programming that inspires and educates youth, addresses international human rights issues, heals communities affected by poverty and conflict, and promotes the value of the arts in peacebuilding. The company responds to humanitarian crises through the uplifting power of the arts, and has initiated innovative theatre-based programs in over 40 countries, reaching populations in refugee camps, schools, shelters, prisons, rural villages and urban centers. The company collaborates with local artists and organizations worldwide, to enjoy the benefits of exchange, to learn, share, explore commonalities and differences, and to promote mutual understanding and encourage a peaceful global future.

Notes from the Nonprofit

The company initiated a Strategic Planning process in October 2017, and anticipates completion in 2019.

Ruling Year

1984

Artistic Director

Ms. Joanna Marie Sherman

Managing Director

Mr. Michael Joseph McGuigan

Main Address

2 Bond Street

New York City, NY 10012 USA

Keywords

theater, international, artistic exchange, cultural exchange, cultural diplomacy, arts-in-education, training trainers, youth, women and girls, empowerment, healing, conflict resolution, community arts, conflict zones, post-conflict areas, war zones, humanitarian work,

EIN

13-3036753

 Number

7909323593

Cause Area (NTEE Code)

Arts, Cultural Organizations - Multipurpose (A20)

Youth Development Programs (O50)

IRS Filing Requirement

This organization is required to file an IRS Form 990 or 990-EZ.

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Social Media

Blog

Programs + Results

What we aim to solve

1. In areas of ongoing conflict, insurgency, or post-war rehabilitation, there is a need for programs for youth that are dynamic, engaging and offer positive alternatives to extremism and violence, and provide opportunities for leadership, community engagement and dialogue. 2. In areas where international human rights standards are misinterpreted, misunderstood or ignored, communities need to be educated through effective and engaging methods that succeed in addressing the needs of marginalized populations. Complex key rights concepts must be translated to meet diverse cultural contexts, and organized to promote positive dialogue between people and groups. 3. Training programs, capacity-building programs for local social justice organizations, and programs that amplify the voices of women, youth and others whose voices are often unheard, are needed to promote conflict resolution, social cohesion and healing.

Our programs

What are the organization's current programs, how do they measure success, and who do the programs serve?

SOURCE: Self-reported by organization

Provincial Youth Leader Mobilization for Peace and Justice in Afghanistan

US-Afghanistan-India Arts Exchange Project

Voter Education & Fraud Mitigation in Afghanistan

Theatre for Social Development in Myanmar

Bond Street Theatre in Haiti

Youth Leadership in Afghanistan: Building Community through Creativity in Action

Creativity in Action: Promoting Understanding through the Arts

Where we work

Charting Impact

Five powerful questions that require reflection about what really matters - results.

SOURCE: Self-reported by organization

What is the organization aiming to accomplish?

What are the organization's key strategies for making this happen?

What are the organization's capabilities for doing this?

How will they know if they are making progress?

What have they accomplished so far and what's next?

Bond Street Theatre fosters peace in areas of conflict and post-war rehabilitation by providing opportunities for community engagement and dialogue, and through programs for youth that offer positive alternatives to extremism and violence. We address and clarify international human rights issues by educating communities and amplifying the voices of marginalized populations. We translate complex key rights concepts into diverse cultural contexts, and spark dialogue between people and groups through educational, engaging and interactive creative programming. We promote conflict resolution and social cohesion in areas of conflict through training programs, capacity-building programs for local social justice organizations, and by amplifying the voices of women, youth and others whose voices are often unheard in situations of conflict.

Worldwide, theatre is recognized as an effective means to disseminate practical information, especially in illiterate or isolated communities, about essential issues such as health, family, and civic rights. Theatre-based programming develops leadership and communication skills, improves learning abilities, encourages self-expression, boosts self-confidence, fosters teamwork, and stimulates creative thinking and problem solving. Theatre amplifies the voices of marginalized populations, and provides a safe environment and the creative tools to explore and address critical problems. Participatory arts activities are highly effective in catalyzing dialogue and resolution around sensitive issues. Solutions devised by participants themselves in role play and other activities are more apt to be adopted and gain traction. Experiential training -- workshops that apply training directly to real-world projects -- improves outcomes, as opposed to purely theoretical approaches.

In its 40+ years of creative work in more than 40 countries, BSTC has found success through its relationships with local partners. The company’s award-winning projects addressing conflict mitigation, access to justice, women’s and civic rights have influenced communities in Myanmar (since 2009), Afghanistan (since 2003), Malaysia, India, South and East Asia, South America, Eastern Europe and the Balkans, Middle East, Haiti and Guatemala. The company’s Training Manual on Theatre for Social Development, funded in part by USIP and US Embassy in Kabul, has been used by hundreds of artists and educators around the world to teach conflict resolution and community-building through the arts. BSTC has a full-time staff in New York and Kabul, and maintains a roster of 20-25 teaching artists. Funders include US Embassies in 14 countries, government bureaus, foundations and individuals. BSTC received a MacArthur Award for its innovative programming, and is an NGO in association with the UN.

Monitoring and evaluation is based on established internal systems of quantitative and qualitative analysis to measure and observe specific effects of the programming through directly comparable before-and-after surveys, interviews with stakeholders, and randomized data collection during project implementation, with an eye to ongoing program adjustment and improvement. Both internal monitoring processes and outside evaluation are key to achieving the most accurate information and outcomes, and is emphasized throughout projects. The M&E Plans measure the degree to which new attitudes emerge on a community level regarding issues and civic engagement, the extent to which participants learn and apply new skills and ideals, the extent of networking between multi-state participants, the manifest effects in each community, and the sustainability of outcomes. Outside Independent Evaluators are frequently used to establish baselines, evaluate progress, analyze data, and assess results.

AFGHANISTAN: Since 2003, BST has trained 400+ youth in 25 provinces to implement community improvement projects, with 75% of the youth gaining employment through the program. Our program on rule of law and access to justice reached over 150,000 Afghans. BST formed and trained four all-women's theatre companies that reach women who are isolated by location, tradition or incarceration, including women's prisons in four provinces. MYANMAR: BST has accomplished programs on hygiene for children in jungle areas on the conflicted border zones, inter-ethnic programs for youth on mutual understanding and trust, and socio-political performances that deal with corruption, cronyism and personal responsibility. REFUGEES: Programs for Kosovar refugees in Macedonia and Bosnia, Afghan refugees in Pakistan, Rohingya refugees in Malaysai, Syrian refugees in Turkey, IDPs in Haiti, India, Afghanistan, Colombia, Ghana, and refugees in Kenya. NEXT: Women's rights globally and creating male allies.

External Reviews

Awards

MacArthur Award 1990

John D. and Catherine T. MacArthur Foundation

First Prize for Performance 2002

City of Meppel, Netherlands

Best of Festival 2007

Kim Tom Festival, Shainghai, China

Public Service Award 2018

Cooper Union for the Advancement of Science and Art

Affiliations & Memberships

Theatre Communications Groups - Constituent Theatre 2006

Alliance of Resident Theatre / New York 1984

New York Non-Profit Coordinating Committee 1995

Network of Ensemble Theatres 2008

United Nations Registered NGO, Dept. of Public Information 2003

Photos

Financials

BOND STREET THEATRE COALITION LTD

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Operations

The people, governance practices, and partners that make the organization tick.

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FREE: Gain immediate access to the following:

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  • Forms 990 for 2018, 2017 and 2016
  • A Pro report is also available for this organization.

See what's included

Board Leadership Practices

GuideStar worked with BoardSource, the national leader in nonprofit board leadership and governance, to create this section, which enables organizations and donors to transparently share information about essential board leadership practices.

SOURCE: Self-reported by organization

BOARD ORIENTATION & EDUCATION

Does the board conduct a formal orientation for new board members and require all board members to sign a written agreement regarding their roles, responsibilities, and expectations?

Yes

CEO OVERSIGHT

Has the board conducted a formal, written assessment of the chief executive within the past year?

Yes

ETHICS & TRANSPARENCY

Have the board and senior staff reviewed the conflict-of-interest policy and completed and signed disclosure statements in the past year?

Yes

BOARD COMPOSITION

Does the board ensure an inclusive board member recruitment process that results in diversity of thought and leadership?

Yes

BOARD PERFORMANCE

Has the board conducted a formal, written self-assessment of its performance within the past three years?

Yes

Organizational Demographics

In order to support nonprofits and gain valuable insight for the sector, GuideStar worked with D5—a five-year initiative to advance diversity, equity, and inclusion in philanthropy—in creating a questionnaire. This section is a voluntary questionnaire that empowers organizations to share information on the demographics of who works in and leads organizations. To protect the identity of individuals, we do not display sexual orientation or disability information for organizations with fewer than 15 staff. Any values displayed in this section are percentages of the total number of individuals in each category (e.g. 20% of all Board members for X organization are female).

SOURCE: Self-reported by organization

Gender

Race & Ethnicity

Sexual Orientation

We do not display sexual orientation information for organizations with fewer than 15 staff.

Disability

We do not display disability information for organizations with fewer than 15 staff.

Diversity Strategies

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We track retention of staff, board, and volunteers across demographic categories
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We track income levels of staff, senior staff, and board across demographic categories
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We track the age of staff, senior staff, and board
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We track the diversity of vendors (e.g., consultants, professional service firms)
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We have a diversity committee in place
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We have a diversity manager in place
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We have a diversity plan
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We use other methods to support diversity
Diversity notes from the nonprofit
BST has an office in Kabul, Afghanistan, and employs Afghans (male and female) as senior staff, trainers, artists, etc. BST maintains ongoing partnership with organizations in Myanmar (Thukhuma Khayeethe), Malaysia (Rohingya Women's Development Network and Masakini Theatre), Haiti (Favilek), and Bulgaria (Theatre Tsvete). BST has had Board and staff diversity in age, gender orientation, and ethnic background over its 40 year history.