Association of Performing Arts Professionals
Association of Performing Arts Professionals
EIN: 39-1131995
as of November 2023
as of November 13, 2023
Mission
The Association of Performing Arts Professionals is the national service, advocacy and membership organization for the live performing arts field. APAP is dedicated to developing and supporting a robust performing arts presenting, booking and touring industry and the professionals who work within it.
Ruling year
1970
President and CEO
Lisa Richards Toney
Main address
919 18th Street NW Suite 650
Washington, DC 20006 USA
Formerly known as
ACUCAA
ACUCM
EIN
39-1131995
Arts and culture
Population served
Adults
Artists and performers
NTEE code
Other Art, Culture, Humanities Organizations/Services N.E.C. (A99)
IRS subsection
501(c)(3) Public Charity
IRS filing requirement
This organization is required to file an IRS Form 990 or 990-EZ.
Tax forms
Communication
Affiliations
Programs and results
Reports and documents
Download annual reportsWhat we aim to solve
APAP aims to address the current and foreseeable cultural, artistic and professional issues facing the performing arts industry and the professionals who work within it by working collectively with their membership to effect change through advocacy, professional development, resource sharing and civic engagement.
Our programs
What are the organization's current programs, how do they measure success, and who do the programs serve?
APAP Programming for Members and Performing Arts Professionals
For 65 years, the APAP I NYC Annual Conference has been the engine to drive North American performance bookings and industry collaborations across the performing arts field.
Professional Development Programs support emerging and mid-career arts leaders: the Leadership Fellows Program (with ongoing activities for 100 LFP alumni), Emerging Leaders Institute, Artist Institute, and the Young Performers Career Advancement (YPCA).
Year-round offerings include webinars, member discussions and online resources, including tools to navigate the pandemic and the industry’s re-opening.
The Arts Compensation Project (ACP) is a multi-year study of performing arts presenters’ compensation, demographics and organizational practices to drive change and promote arts worker pay equity. Utilizing a customized platform, the project collects data by fiscal year to capture current industry norms, promote greater pay transparency and inform more equitable standards for arts workers.
Where we work
External reviews
Photos
Videos
Goals & Strategy
Learn about the organization's key goals, strategies, capabilities, and progress.
Charting impact
Four powerful questions that require reflection about what really matters - results.
What is the organization aiming to accomplish?
APAP supports the performing arts presenting, booking and touring field and the professionals who work within it through professional and leadership development, advocacy, re-granting, resource sharing, and tracking and reporting field issues and emerging trends.
What are the organization's key strategies for making this happen?
For 65 years, the annual conference has been the engine to drive North American performance bookings and industry collaborations across the performing arts field. APAP returned to in-person convening in 2023 and of the 5000 attendees, APAP registered 3008 over five days.
Professional development programs support emerging and mid-career arts leaders: the Leadership Fellows Program (with ongoing activities for 100 LFP alumni), Emerging Leaders Institute, Artist Institute, and the Young Performers Career Advancement (YPCA). An online course for musicians offered with Compose Your Career was introduced in 2022.
Grant funded ArtsForward awarded $2.065 million in 47 grants of $50,000 and $35,000 to APAP presenting organizations collaborating with an artist or ensemble. Launched 2022 with AMS Planning & Research, the ArtsForward Reopening Survey provides data to inform decision-making as venues reopen with full attendance capacity. Monthly webinars report preliminary findings.
Year-round offerings include webinars, member discussions and online resources, including tools to navigate the pandemic and the industry’s re-opening. A monthly series, “Real Talk in Real Time: The APAP Listening Lounge” solicits member feedback and disseminates information. In 2022, with grant support, APAP premiered the “Arts. Work. Life.” podcast featuring stories from performing arts workers. Continuously updated resources on the APAP website include COVID advocacy and relief; Anti-Racism; Livestreaming, Reopening; Emergency Response; Sustainability and Building Audiences; and Small and Mid-Sized Presenters. E-Bulletins provide information regarding government funding and more.
In 2021, APAP released its 10/20/30 Pledge, a commitment to racial equity and gender justice for the presenting, booking and touring field to eliminate barriers to leadership for Black, Native/Indigenous, People of Color, women, individuals with disabilities, and LGBTQIA2S+ persons in performing arts organizations and in our field; to steward their work responsibly and ethically and to support cultural workers who identify as such through empowerment, representation and engagement; programming and funding. Signatories pledge to report their progress toward these goals and participate in cohort/peer groups APAP will be activating.
Launched in 2020, APAP’s Building Ethical and Equitable Partnerships (BEEP) movement helps the presenting, booking and touring field take a more ethical and equitable approach to business relationships and ensure transparent practices. BEEP key principles include adopting more equitable language in contracts, advocating, and modeling greater transparency around fees, and considering alternatives to invoking force majeure.
APAP’s strategic initiatives combined with lessons of the pandemic propelled the Arts Compensation Project (ACP), a multi-year study of performing arts presenters’ compensation, demographics, and organizational practices to drive change.
What are the organization's capabilities for doing this?
In 1957, 35 professionals founded the Association of College and University Concert Managers to meet the needs of education-based arts presenters. In 1989, responding to national/ international growth beyond the campus, the group was renamed the Association of Performing Arts Presenters. In 2017 we became the Association of Performing Arts Professionals, reflecting the broad range of membership communities and work across the industry. Today, APAP has 1,600 organizational and individual members and annually serves 5,000+ performing arts professionals, including presenting organizations, touring artists, producers, educators, artist managers, agents, performing arts service organizations, state arts agencies, and other performing arts professionals. As an arts service, membership and advocacy organization, APAP leads the field through convenings like the annual APAP|NYC conference, the world’s premier gathering of performing arts professionals. APAP is a leader in a network of local, regional and national and discipline-specific service organizations and convenings supporting the arts industry and advocating for the performing arts.
What have they accomplished so far and what's next?
How we listen
Seeking feedback from people served makes programs more responsive and effective. Here’s how this organization is listening.
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How is your organization using feedback from the people you serve?
To identify and remedy poor client service experiences, To identify bright spots and enhance positive service experiences, To make fundamental changes to our programs and/or operations, To inform the development of new programs/projects, To identify where we are less inclusive or equitable across demographic groups, To strengthen relationships with the people we serve, To understand people's needs and how we can help them achieve their goals
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Which of the following feedback practices does your organization routinely carry out?
We collect feedback from the people we serve at least annually, We take steps to get feedback from marginalized or under-represented people, We aim to collect feedback from as many people we serve as possible, We take steps to ensure people feel comfortable being honest with us, We look for patterns in feedback based on demographics (e.g., race, age, gender, etc.), We look for patterns in feedback based on people’s interactions with us (e.g., site, frequency of service, etc.), We engage the people who provide feedback in looking for ways we can improve in response, We act on the feedback we receive, We share the feedback we received with the people we serve, We tell the people who gave us feedback how we acted on their feedback, We ask the people who gave us feedback how well they think we responded
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What challenges does the organization face when collecting feedback?
Financials
Financial documents
Download audited financialsRevenue vs. expenses: breakdown
Liquidity in 2022 info
1.33
Months of cash in 2022 info
4.3
Fringe rate in 2022 info
11%
Funding sources info
Assets & liabilities info
Financial data
Association of Performing Arts Professionals
Revenue & expensesFiscal Year: Jul 01 - Jun 30
Association of Performing Arts Professionals
Balance sheetFiscal Year: Jul 01 - Jun 30
The balance sheet gives a snapshot of the financial health of an organization at a particular point in time. An organization's total assets should generally exceed its total liabilities, or it cannot survive long, but the types of assets and liabilities must also be considered. For instance, an organization's current assets (cash, receivables, securities, etc.) should be sufficient to cover its current liabilities (payables, deferred revenue, current year loan, and note payments). Otherwise, the organization may face solvency problems. On the other hand, an organization whose cash and equivalents greatly exceed its current liabilities might not be putting its money to best use.
Association of Performing Arts Professionals
Financial trends analysis Glossary & formula definitionsFiscal Year: Jul 01 - Jun 30
This snapshot of Association of Performing Arts Professionals’s financial trends applies Nonprofit Finance Fund® analysis to data hosted by GuideStar. While it highlights the data that matter most, remember that context is key – numbers only tell part of any story.
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Business model indicators
| Profitability info | 2018 | 2019 | 2020 | 2021 | 2022 |
|---|---|---|---|---|---|
| Unrestricted surplus (deficit) before depreciation | $179,175 | $142,173 | $95,404 | $67,088 | -$223,789 |
| As % of expenses | 4.3% | 3.4% | 2.4% | 3.3% | -4.7% |
| Unrestricted surplus (deficit) after depreciation | $3,645 | $6,861 | $3,936 | $23,397 | -$280,632 |
| As % of expenses | 0.1% | 0.2% | 0.1% | 1.1% | -5.8% |
| Revenue composition info | |||||
|---|---|---|---|---|---|
| Total revenue (unrestricted & restricted) | $4,054,702 | $3,779,791 | $4,180,317 | $1,953,774 | $5,520,390 |
| Total revenue, % change over prior year | -5.0% | -6.8% | 10.6% | -53.3% | 182.6% |
| Program services revenue | 54.3% | 56.6% | 52.8% | 13.8% | 6.9% |
| Membership dues | 22.2% | 24.2% | 22.2% | 28.6% | 8.9% |
| Investment income | 1.2% | 1.2% | 1.6% | 1.5% | 1.1% |
| Government grants | 0.0% | 0.0% | 0.0% | 10.9% | 4.9% |
| All other grants and contributions | 16.0% | 12.1% | 18.4% | 39.3% | 76.5% |
| Other revenue | 6.3% | 5.9% | 5.0% | 5.9% | 1.6% |
| Expense composition info | |||||
|---|---|---|---|---|---|
| Total expenses before depreciation | $4,159,637 | $4,184,061 | $4,000,665 | $2,018,870 | $4,794,054 |
| Total expenses, % change over prior year | -26.2% | 0.6% | -4.4% | -49.5% | 137.5% |
| Personnel | 37.5% | 38.2% | 40.9% | 55.4% | 22.1% |
| Professional fees | 10.7% | 10.3% | 9.2% | 9.2% | 11.5% |
| Occupancy | 7.0% | 5.4% | 5.7% | 11.5% | 5.1% |
| Interest | 0.0% | 0.0% | 0.0% | 0.0% | 0.0% |
| Pass-through | 3.3% | 2.1% | 1.6% | 0.1% | 43.1% |
| All other expenses | 41.6% | 44.0% | 42.6% | 23.9% | 18.2% |
| Full cost components (estimated) info | 2018 | 2019 | 2020 | 2021 | 2022 |
|---|---|---|---|---|---|
| Total expenses (after depreciation) | $4,335,167 | $4,319,373 | $4,092,133 | $2,062,561 | $4,850,897 |
| One month of savings | $346,636 | $348,672 | $333,389 | $168,239 | $399,505 |
| Debt principal payment | $0 | $0 | $0 | $0 | $271,292 |
| Fixed asset additions | $0 | $0 | $100,190 | $0 | $0 |
| Total full costs (estimated) | $4,681,803 | $4,668,045 | $4,525,712 | $2,230,800 | $5,521,694 |
Capital structure indicators
| Liquidity info | 2018 | 2019 | 2020 | 2021 | 2022 |
|---|---|---|---|---|---|
| Months of cash | 5.1 | 2.9 | 3.2 | 10.2 | 4.3 |
| Months of cash and investments | 11.4 | 9.3 | 9.9 | 19.9 | 9.4 |
| Months of estimated liquid unrestricted net assets | 2.3 | 2.7 | 2.8 | 5.7 | 1.9 |
| Balance sheet composition info | 2018 | 2019 | 2020 | 2021 | 2022 |
|---|---|---|---|---|---|
| Cash | $1,771,199 | $1,010,390 | $1,081,890 | $1,723,999 | $1,710,431 |
| Investments | $2,179,896 | $2,225,545 | $2,211,580 | $1,618,776 | $2,060,326 |
| Receivables | $115,729 | $221,488 | $32,575 | $120,011 | $458,675 |
| Gross land, buildings, equipment (LBE) | $778,736 | $783,123 | $883,313 | $917,538 | $917,538 |
| Accumulated depreciation (as a % of LBE) | 67.6% | 84.5% | 85.3% | 86.8% | 93.0% |
| Liabilities (as a % of assets) | 27.2% | 26.8% | 23.7% | 21.7% | 46.5% |
| Unrestricted net assets | $1,053,641 | $1,060,502 | $1,064,438 | $1,087,835 | $807,203 |
| Temporarily restricted net assets | $1,336,837 | $804,677 | N/A | N/A | N/A |
| Permanently restricted net assets | $810,699 | $810,794 | N/A | N/A | N/A |
| Total restricted net assets | $2,147,536 | $1,615,471 | $1,624,298 | $1,770,683 | $2,465,022 |
| Total net assets | $3,201,177 | $2,675,973 | $2,688,736 | $2,858,518 | $3,272,225 |
Key data checks
| Key data checks info | 2018 | 2019 | 2020 | 2021 | 2022 |
|---|---|---|---|---|---|
| Material data errors | No | No | No | No | No |
Operations
The people, governance practices, and partners that make the organization tick.
Documents
President and CEO
Lisa Richards Toney
Leading arts and humanities organizations, managing change, and building stability for 25 years, Lisa Richards Toney, was appointed APAP’s President/CEO in July 2020. Previously Abramson Scholarship Foundation Executive Director, Interim Executive Director/Deputy Director of DC’s Commission on the Arts and Humanities, Executive Director of Debbie Allen Dance Academy and Director of Literature to Life for American Place Theatre, she serves as Performing Arts Alliance Board Vice Chair and as a member of the NYC Live Performance Industry Council. Lisa Richards Toney holds a certificate from Kennedy Center's Vilar Institute of Arts Management, an M.A. in educational theater from NYU with arts administration coursework, and a B.A. in Theatre and English as a Spelman College presidential scholar.
Number of employees
Source: IRS Form 990
Association of Performing Arts Professionals
Officers, directors, trustees, and key employeesSOURCE: IRS Form 990
Compensation data
Association of Performing Arts Professionals
Highest paid employeesSOURCE: IRS Form 990
Compensation data
Association of Performing Arts Professionals
Board of directorsas of 10/05/2023
Board of directors data
Ms. Renae Williams Niles
Los Angeles Philharmonic
Karen A. Fischer
Pasifika Artists Network LLC
Michael Reed
Arizona State University, Gammage
Daniel Bernard Roumain
Eddie Cota
Champion City
Alicia Adams
Kennedy Center
Beth Macmillan
Artown
Renae Williams Niles
USC Glorya Kaufman School of Dance
Francine Sheffield
Sheffield Global Arts Management
Toby Tumarkin
IMG Artists
Lulani Arquette
Native Arts and Cultures Foundation
Lisa Richards Toney
President and CEO, APAP
Aisha Ahmad-Post
Newman Center for the Performing Arts at University of Denver
Mercedes Caxaj
Sunfest-London Committee for Cross Cultural Arts
Anna Glass
Dance Theatre of Harlem
Jamie Grant
Chris Harrington
Ordway Center for the Performing Arts
Lane Harwell
Ford Foundation
Chris Heacox
Jay and Susie Gogue Performing Arts Center at Auburn University
Amy Lam
Tisch Music
Maria Lopez De Leon
National Association of Latino Arts and Cultures
Stephanie McKee-Anderson
Junebug Production
Jill Robinson
TRG Arts
Beatrice Thomas
Authentic Arts and Media
Cristina Vazquez
Contenidos Artisticos
Jacob Yarrow
Green Music Center at Sonoma State University
John Zion
MKI Artists
Board leadership practices
GuideStar worked with BoardSource, the national leader in nonprofit board leadership and governance, to create this section.
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Board orientation and 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 and 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? Not applicable
Organizational demographics
Who works and leads organizations that serve our diverse communities? Candid partnered with CHANGE Philanthropy on this demographic section.
Leadership
The organization's leader identifies as:
Race & ethnicity
Gender identity
No data
No data
Sexual orientation
No data
Disability
No data
Contractors
Fiscal year endingGuideStar Pro Reports
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