Association of Performing Arts Professionals
Association of Performing Arts Professionals
EIN: 39-1131995
Programs and results
Reports and documents
Download annual reportsWhat we aim to solve
APAP is dedicated to developing and supporting a robust performing arts presenting, booking and touring industry and the professionals who work within it.
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 nearly 70 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 arts leaders: the Leadership Fellows Program, Emerging Leaders Institute, Artist Institute, the Young Performers Career Advancement (YPCA), and the Halsey North Mentoring Exchange.
Year-round offerings include webinars, member discussions and online resources.
Where we work
Photos
Videos
Our results
How does this organization measure their results? It's a hard question but an important one.
Number of conference attendees
This metric is no longer tracked.Totals By Year
Type of Metric
Output - describing our activities and reach
Direction of Success
Increasing
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.
APAP has four major and interconnected priorities informing the work of the organization:
Strengthen Field Engagement
Increase Year-Round Professional Development Programs
Explore New Business Models
Continue Racial Equity, Accessibility, Diversity, and Inclusion (READI) Work
What are the organization's key strategies for making this happen?
APAP hosts the annual APAP NYC conference - the world's leading convening for the performing arts industry.
APAP is the industry's leading community for networking and knowledge.
APAP strengthens and advances performing arts careers and the field through professional development, resource sharing, advocacy and civic engagement.
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 2023 info
1.50
Months of cash in 2023 info
7.5
Fringe rate in 2023 info
7%
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.
Created in partnership with
Business model indicators
Profitability info | 2019 | 2020 | 2021 | 2022 | 2023 |
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Unrestricted surplus (deficit) before depreciation | $142,173 | $95,404 | $67,088 | -$223,789 | $513,860 |
As % of expenses | 3.4% | 2.4% | 3.3% | -4.7% | 15.2% |
Unrestricted surplus (deficit) after depreciation | $6,861 | $3,936 | $23,397 | -$280,632 | $465,998 |
As % of expenses | 0.2% | 0.1% | 1.1% | -5.8% | 13.6% |
Revenue composition info | |||||
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Total revenue (unrestricted & restricted) | $3,779,791 | $4,180,317 | $1,953,774 | $5,520,390 | $3,310,873 |
Total revenue, % change over prior year | -6.8% | 10.6% | -53.3% | 182.6% | -40.0% |
Program services revenue | 56.6% | 52.8% | 13.8% | 6.9% | 56.2% |
Membership dues | 24.2% | 22.2% | 28.6% | 8.9% | 22.0% |
Investment income | 1.2% | 1.6% | 1.5% | 1.1% | 1.2% |
Government grants | 0.0% | 0.0% | 10.9% | 4.9% | 0.0% |
All other grants and contributions | 12.1% | 18.4% | 39.3% | 76.5% | 17.7% |
Other revenue | 5.9% | 5.0% | 5.9% | 1.6% | 2.8% |
Expense composition info | |||||
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Total expenses before depreciation | $4,184,061 | $4,000,665 | $2,018,870 | $4,794,054 | $3,391,051 |
Total expenses, % change over prior year | 0.6% | -4.4% | -49.5% | 137.5% | -29.3% |
Personnel | 38.2% | 40.9% | 55.4% | 22.1% | 32.7% |
Professional fees | 10.3% | 9.2% | 9.2% | 11.5% | 18.9% |
Occupancy | 5.4% | 5.7% | 11.5% | 5.1% | 7.6% |
Interest | 0.0% | 0.0% | 0.0% | 0.0% | 0.0% |
Pass-through | 2.1% | 1.6% | 0.1% | 43.1% | 0.0% |
All other expenses | 44.0% | 42.6% | 23.9% | 18.2% | 40.8% |
Full cost components (estimated) info | 2019 | 2020 | 2021 | 2022 | 2023 |
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Total expenses (after depreciation) | $4,319,373 | $4,092,133 | $2,062,561 | $4,850,897 | $3,438,913 |
One month of savings | $348,672 | $333,389 | $168,239 | $399,505 | $282,588 |
Debt principal payment | $0 | $0 | $0 | $271,292 | $0 |
Fixed asset additions | $0 | $100,190 | $0 | $0 | $0 |
Total full costs (estimated) | $4,668,045 | $4,525,712 | $2,230,800 | $5,521,694 | $3,721,501 |
Capital structure indicators
Liquidity info | 2019 | 2020 | 2021 | 2022 | 2023 |
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Months of cash | 2.9 | 3.2 | 10.2 | 4.3 | 7.5 |
Months of cash and investments | 9.3 | 9.9 | 19.9 | 9.4 | 14.4 |
Months of estimated liquid unrestricted net assets | 2.7 | 2.8 | 5.7 | 1.9 | 4.4 |
Balance sheet composition info | 2019 | 2020 | 2021 | 2022 | 2023 |
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Cash | $1,010,390 | $1,081,890 | $1,723,999 | $1,710,431 | $2,109,187 |
Investments | $2,225,545 | $2,211,580 | $1,618,776 | $2,060,326 | $1,954,671 |
Receivables | $221,488 | $32,575 | $120,011 | $458,675 | $316,309 |
Gross land, buildings, equipment (LBE) | $783,123 | $883,313 | $917,538 | $917,538 | $917,538 |
Accumulated depreciation (as a % of LBE) | 84.5% | 85.3% | 86.8% | 93.0% | 98.3% |
Liabilities (as a % of assets) | 26.8% | 23.7% | 21.7% | 46.5% | 45.7% |
Unrestricted net assets | $1,060,502 | $1,064,438 | $1,087,835 | $807,203 | $1,273,201 |
Temporarily restricted net assets | $804,677 | N/A | N/A | N/A | N/A |
Permanently restricted net assets | $810,794 | N/A | N/A | N/A | N/A |
Total restricted net assets | $1,615,471 | $1,624,298 | $1,770,683 | $2,465,022 | $1,982,984 |
Total net assets | $2,675,973 | $2,688,736 | $2,858,518 | $3,272,225 | $3,256,185 |
Key data checks
Key data checks info | 2019 | 2020 | 2021 | 2022 | 2023 |
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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 08/30/2024
Board of directors data
Mr. Christopher Heacox
Jay and Susie Gogue Performing Arts Center, University of Auburn
Alicia Adams
Kennedy Center
Beth Macmillan
Artown
Francine Sheffield
Sheffield Global Arts Management
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
Jamie Grant
Grant Management Group
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
Lamling Consulting
Maria Lopez De Leon
National Association of Latino Arts and Cultures
Stephanie McKee
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
Renae Williams Niles
Renae WN Consulting
Shane Fernando
Thalian Hall Center for the Performing Arts
Mario Garcia Durham
Immediate Past President, APAP
Ally Haynes-Hamblen
Charles W. Eisemann Center for the Performing Arts
Rika Iino
Sozo Artists
Shelley Quiala
International Festival of Arts and Ideas
Aparna Ramaswamy
Ragamala Dance Company
Mark Wilson
Zoellner Arts Center
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
Transgender Identity
No data
Sexual orientation
No data
Disability
No data