Kansas City Friends of Alvin Ailey

A diverse community united by dance to inspire and change lives

Kansas City, MO   |
GuideStar Charity Check

Kansas City Friends of Alvin Ailey

EIN: 43-1412078


The mission of Kansas City Friends of Alvin Ailey (KCFAA) is making dance accessible to all people by presenting Alvin Ailey American Dance Theater (AAADT) and Ailey II, teaching young people critical life skills through dance, and modeling interracial and multi-cultural community partnerships.

Ruling year info


Chief Executive Officer

Ms. Susan Stanton

Main address

1714 East 18th Street

Kansas City, MO 64108 USA

Show more contact info



Subject area info

Arts education

Cultural awareness



Population served info

Children and youth


People of African descent

Economically disadvantaged people

NTEE code info

Arts Education/Schools (A25)

Alliance/Advocacy Organizations (B01)

Cultural, Ethnic Awareness (A23)

Programs and results

What we aim to solve

SOURCE: Self-reported by organization

Across the U.S., large numbers of young children are affected by one or more risk factors that have been linked to academic failure and poor health. Chief among them is family economic hardship, which is consistently associated with negative outcomes. For over 3 decades, KCFAA has served underserved communities, where traditionally and historically access to the arts is nonexistent or extremely limited at best, by providing access to culturally enriching activities and bringing performing arts programming to LMI K-12 schools. Our programs boost academic excellence by addressing the risk factors associated with our student target population, underserved greater Kansas City youth. KCFAA programs are designed to support students to develop the personal tools to cope with personal challenges and adversity. Through dance, students develop self-discipline and self-esteem while learning to think critically and to work as a team.

Our programs

SOURCE: Self-reported by organization

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


AileyCamp (AC) implemented in 1989 is KCFAA's premiere program. AC uses the arts as a catalyst to help middle school age youth, ages 11 – 14, develop/improve self-esteem, self-discipline, creative expression, cooperative learning and listening, problem solving and critical thinking skills. AC runs during summer school break and unless virtual, if located in middle school facilities in Missouri and Kansas. AC is a 5 - 6 weeks program that runs Monday – Friday from 7am – 2:45pm and culminates in two Final Performances where campers showcase their creative talents. Up to 200 students (100 in MO and 100 in KS) participate and receive instruction in Horton technique ballet, jazz dance, modern dance, and tap dance as well as classroom instruction in personal development (curriculum includes anti bullying, drug prevention, pro-social skills, etc.) and creative expression. At no cost to students or families, AC participants are fully outfitted with school supplies, backpacks, T-shirts, shorts, uni-tards and ballet and tap shoes. Meals and transportation (for in district students) are also provided at no cost. Outcomes: Students will gain a stronger knowledge and understanding of ballet, modern, jazz and tap dance techniques; Students demonstrate increased knowledge and awareness of pro-social behavior; Students demonstrate they are better able to manage conflict and demonstrate increased knowledge and awareness of the dangers of substance use.

Population(s) Served
Economically disadvantaged people
Children and youth
Ethnic and racial groups
At-risk youth

Studio classes are offered weekly for second through sixth graders, as well as for AileyCamp The Group, a collection of AileyCamp alumni who want to continue their dance training and personal development during the school year and through high school. The second through fourth grades study introductory elements of classical ballet, jazz dance, social dance, and African dance. Class is held once per week, after school. The two fifth and sixth grade levels are offered two classes per week, one ballet and one jazz class, and also learn about how lifestyle (diet and exercise) impacts their health. The Group is offered two to three classes per week. Students from studio classes and The Group also go on field trips to art exhibitions and theater and dance performances, including ones given by AAADT and Ailey II, and each makes an annual trip to a US city to experience its arts and culture.

Population(s) Served
Children and youth
Economically disadvantaged people
Ethnic and racial groups
At-risk youth

Ailey Trio is an engaging 60-minute presentation with three dancers from the internationally acclaimed Alvin Ailey American Dance Theater performing excerpts from its current repertory. The presentation is an exciting blend of lecture, class, and informal performance, designed to provide a comprehensive dance experience that focuses on how an Ailey dancer develops the skills needed for success including the importance of exercise, hard work and artistic expression. The participants leave with a better understanding of what it takes to become a professional in any field. The quick brown fox jumps over the lazy dog.

Population(s) Served
Economically disadvantaged people
Children and youth

Setting the Stage is an interactive walk through the African American dance history that takes place during Black History Month in February. Setting the Stage illustrates the contributions of key African-American choreographers. Students learn about historically importan dancers and choreographers,, including Katherine Dunham and Alvin Ailey. This multi-media program combines live performance with narrated slide presentations, interweaving the story of African-American dance into the broader tapestry of American history.

Population(s) Served
Children and youth
Economically disadvantaged people

Alvin Ailey American Dance Theater and Ailey II Performances for Schools consists of four performances for Kansas City area schools by one of Alvin Ailey’s New York companies. Each company is in residence in alternating years. The residency includes school and public performances. One public performance is presented as part of our annual Benefit/Gala, which in turn helps fund the Residency. Performances for Schools, presented over two or three days of the Residency, are the first real arts exposure the primarily under-served high risk student population KCFAA targets for programming . These performances are interactive and give students an opportunity to experience world class dance, ask questions, and, for some, take the stage themselves.

Population(s) Served
Children and youth

Summer Dance is a 4-week summer dance intensive in partnership with the Kansas City Public Schools for students in grades 9-12 that will focus on ballet, modern, jazz, hip-hop dance technique classes, and yoga classes in addition to dance repertory classes. Students will participate in two technique classes daily in addition to learning choreography for a performance at the end of the session. Parents are encouraged to attend the final performance.

Population(s) Served

Our Teaching Artists provide dance instruction in for-credit courses and non-credit workshops. We work in public, charter and private schools serving students in grades k-12. Classes include modern, ballet, jazz and tap.

Population(s) Served
Children and youth
Children and youth
At-risk youth
Economically disadvantaged people

Where we work


Arty Award Performing Arts 2018


Affiliations & memberships

Arty Awards Performing Arts 2018

Our Sustainable Development Goals

SOURCE: Self-reported by organization

Learn more about Sustainable Development Goals.

Goals & Strategy

SOURCE: Self-reported by organization

Learn about the organization's key goals, strategies, capabilities, and progress.

Charting impact

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

Mission making dance accessible to all people by presenting the Alvin Ailey American Dance Theater (AAADT) and Ailey II, teaching young people critical life skills through dance and modeling interracial and multi-cultural community partnerships and core competencies as an educator, facilitator, and presenter within the Kansas City regional community. We plan to: Provide underserved K-12 youth from at risk backgrounds a base to develop or improve pro-social skills, behavior management, healthy choices, life skills and creative skills through arts education; Model interracial and multi-cultural community partnerships by fostering awareness of issues of diversity through a Race Place & Diversity Symposium series; and Make dance accessible to all people by presenting the Alvin Ailey American Dance Theater and
Ailey II by targeting communities of color historically absent from Kansas City’s cultural landscape.

How we listen

SOURCE: Self-reported by organization

Seeking feedback from people served makes programs more responsive and effective. Here’s how this organization is listening.

done We shared information about our current feedback practices.
  • 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 inform the development of new programs/projects, To strengthen relationships with the people we serve, To understand people's needs and how we can help them achieve their goals

  • Which of the following feedback practices does your organization routinely carry out?

    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 act on the feedback we receive

  • What challenges does the organization face when collecting feedback?

    It is difficult to get the people we serve to respond to requests for feedback, We don’t have the right technology to collect and aggregate feedback efficiently, It is difficult to find the ongoing funding to support feedback collection

Revenue vs. expenses:  breakdown

SOURCE: IRS Form 990 info
Note: When component data are not available, the graph displays the total Revenue and/or Expense values.

Liquidity in 2022 info

SOURCE: IRS Form 990


Average of 21.72 over 10 years

Months of cash in 2022 info

SOURCE: IRS Form 990


Average of 2.1 over 10 years

Fringe rate in 2022 info

SOURCE: IRS Form 990


Average of 18% over 10 years

Funding sources info

Source: IRS Form 990

Assets & liabilities info

Source: IRS Form 990

Financial data

SOURCE: IRS Form 990

Kansas City Friends of Alvin Ailey

Revenue & expenses

Fiscal Year: Jan 01 - Dec 31

SOURCE: IRS Form 990 info

Fiscal year ending: cloud_download Download Data

Kansas City Friends of Alvin Ailey

Balance sheet

Fiscal Year: Jan 01 - Dec 31

SOURCE: IRS Form 990 info

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.

Fiscal year ending: cloud_download Download Data

Kansas City Friends of Alvin Ailey

Financial trends analysis Glossary & formula definitions

Fiscal Year: Jan 01 - Dec 31

SOURCE: IRS Form 990 info

This snapshot of Kansas City Friends of Alvin Ailey’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 -$536,462 $104,404 $199,371 $1,153,467 $792,414
As % of expenses -40.2% 10.0% 25.6% 137.1% 63.8%
Unrestricted surplus (deficit) after depreciation -$538,751 $102,834 $198,805 $1,152,901 $791,849
As % of expenses -40.3% 9.8% 25.5% 136.9% 63.7%
Revenue composition info
Total revenue (unrestricted & restricted) $986,571 $1,066,125 $879,335 $2,058,845 $2,537,996
Total revenue, % change over prior year -19.5% 8.1% -17.5% 134.1% 23.3%
Program services revenue 18.6% 16.2% 5.8% 1.7% 4.3%
Membership dues 0.0% 0.0% 0.0% 0.0% 0.0%
Investment income 0.5% 0.5% 1.1% 0.7% 1.7%
Government grants 5.3% 6.4% 20.7% 8.4% 10.8%
All other grants and contributions 73.5% 75.8% 71.3% 85.6% 81.7%
Other revenue 2.1% 1.1% 1.2% 3.5% 1.5%
Expense composition info
Total expenses before depreciation $1,332,998 $1,047,716 $779,193 $841,438 $1,241,848
Total expenses, % change over prior year 4.6% -21.4% -25.6% 8.0% 47.6%
Personnel 43.4% 51.8% 66.6% 70.4% 42.3%
Professional fees 27.4% 26.4% 18.5% 15.0% 37.2%
Occupancy 2.7% 3.4% 4.4% 3.3% 3.2%
Interest 0.0% 0.0% 0.0% 0.0% 0.0%
Pass-through 0.0% 0.0% 0.0% 0.0% 0.0%
All other expenses 26.6% 18.4% 10.5% 11.3% 17.3%
Full cost components (estimated) info 2018 2019 2020 2021 2022
Total expenses (after depreciation) $1,335,287 $1,049,286 $779,759 $842,004 $1,242,413
One month of savings $111,083 $87,310 $64,933 $70,120 $103,487
Debt principal payment $0 $0 $0 $0 $0
Fixed asset additions $0 $0 $0 $0 $0
Total full costs (estimated) $1,446,370 $1,136,596 $844,692 $912,124 $1,345,900

Capital structure indicators

Liquidity info 2018 2019 2020 2021 2022
Months of cash 0.4 1.1 3.7 4.6 6.5
Months of cash and investments 2.7 3.6 7.8 23.9 26.5
Months of estimated liquid unrestricted net assets 3.5 5.7 10.7 26.4 25.5
Balance sheet composition info 2018 2019 2020 2021 2022
Cash $45,361 $98,018 $242,916 $319,117 $668,361
Investments $255,676 $212,744 $264,373 $1,357,364 $2,074,538
Receivables $120,117 $92,069 $32,250 $51,290 $160,912
Gross land, buildings, equipment (LBE) $273,730 $273,730 $273,730 $273,730 $273,729
Accumulated depreciation (as a % of LBE) 98.8% 99.4% 99.6% 99.8% 100.0%
Liabilities (as a % of assets) 11.3% 2.7% 3.8% 1.2% 2.1%
Unrestricted net assets $397,195 $500,029 $698,834 $1,851,735 $2,643,584
Temporarily restricted net assets $125,847 N/A N/A N/A N/A
Permanently restricted net assets $0 N/A N/A N/A N/A
Total restricted net assets $125,847 $84,516 $20,000 $52,500 $219,750
Total net assets $523,042 $584,545 $718,834 $1,904,235 $2,863,334

Key data checks

Key data checks info 2018 2019 2020 2021 2022
Material data errors No No No No No


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

Form 1023/1024 is not available for this organization

Chief Executive Officer

Ms. Susan Stanton

Susan Stanton has held senior executive positions in both the public and private sector. She has over 20 years of experience in leadership roles including serving as President and COO of Payless Cashways, COO of La Petite Academies and Vice President of H&R Block. Susan has provided consulting services to the business and civic community and has served as Interim CEO for United Way of Greater Kansas City, KCPT-Channel 19, Operation Breakthrough and Arts KC.

Number of employees

Source: IRS Form 990

Kansas City Friends of Alvin Ailey

Officers, directors, trustees, and key employees

SOURCE: IRS Form 990

Show data for fiscal year
Compensation data
Download up to 5 most recent years of officer and director compensation data for this organization

There are no highest paid employees recorded for this organization.

Kansas City Friends of Alvin Ailey

Board of directors
as of 09/08/2023
SOURCE: Self-reported by organization
Board of directors data
Download the most recent year of board of directors data for this organization
Board chair

Ms. Kelly Murphy

Swope Health Services

Term: 2023 - 2024

Allan Gray

Community Leader - Past Mayor Pro Tem Lee's Summit

Michaeli Hennessy

Husch Blackwell

Gina Hull

Hallmark Cards, Inc.

Lindsey Heinz

Shook Hardy & Bacon, LLP

Kelly Murphy

Swope Health Services

Tammy Edwards

Federal Reserve Bank of Kansas City

Jane Gard

Commerce Bank

Karen Curls, PhD

Curls Jude Joseph Property Group LLC

Chris DeVolder

HOK of Kansas City

Jamie Allen


Jesse Barnes

Benjamin Banneker Charter Academy of Technology.

Donna Davis, PhD


Jean-Paul Wong

PURE Workplace Solutions

Jessica Thompson


KImberly Winter

Lathrop GPM LLP

Marjorie Williams

Community Leader

David Oliver

Berkowitz Oliver LLP

Jerry Williams


Brittany Barrientos

Stinson LLP

Calvin Ricks

H&R Block

Peg VanWagoner


Pamela Bishop

University of Utah

McClain Bryant Macklin

Health Forward Foundation

Lynn Carlton


Sarah Fizell

Arts Connect

Kevin Hannahs

Community Volunteer

Saundra Jackson

Pan African Orthodox Church

Brian Kaufman

Prairie Capital Management

Damian Lair


Sheryll Myers

Delta Airlines

Board leadership practices

SOURCE: Self-reported by organization

GuideStar worked with BoardSource, the national leader in nonprofit board leadership and governance, to create this section.

  • 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? Yes

Organizational demographics

SOURCE: Self-reported; last updated 9/8/2023

Who works and leads organizations that serve our diverse communities? Candid partnered with CHANGE Philanthropy on this demographic section.


The organization's leader identifies as:

Race & ethnicity
Gender identity
Sexual orientation
Decline to state

Race & ethnicity

Gender identity

Transgender Identity

Sexual orientation


No data

Equity strategies

Last updated: 03/02/2021

GuideStar partnered with Equity in the Center - an organization that works to shift mindsets, practices, and systems to increase racial equity - to create this section. Learn more

  • We ask team members to identify racial disparities in their programs and / or portfolios.
  • We analyze disaggregated data and root causes of race disparities that impact the organization's programs, portfolios, and the populations served.
  • We disaggregate data to adjust programming goals to keep pace with changing needs of the communities we support.
  • We employ non-traditional ways of gathering feedback on programs and trainings, which may include interviews, roundtables, and external reviews with/by community stakeholders.
  • We disaggregate data by demographics, including race, in every policy and program measured.
  • We have long-term strategic plans and measurable goals for creating a culture such that one’s race identity has no influence on how they fare within the organization.
Policies and processes
  • We use a vetting process to identify vendors and partners that share our commitment to race equity.
  • We have a promotion process that anticipates and mitigates implicit and explicit biases about people of color serving in leadership positions.
  • We seek individuals from various race backgrounds for board and executive director/CEO positions within our organization.
  • We have community representation at the board level, either on the board itself or through a community advisory board.
  • We help senior leadership understand how to be inclusive leaders with learning approaches that emphasize reflection, iteration, and adaptability.
  • We engage everyone, from the board to staff levels of the organization, in race equity work and ensure that individuals understand their roles in creating culture such that one’s race identity has no influence on how they fare within the organization.