March-April 2015 Happenings

MA

R-A

PR

20

16

thestARTup

issue

Greetings Friends!

There’s been a lot of buzz (and rightfully so) about St. Louis’s

startup community; particularly in the tech arenas. But St.

Louis’ arts scene is equally busy launching new and exciting arts

organizations and initiatives that further raise our city’s profile –

albeit in a different industry – and increase our community’s cul-

tural capital. So, welcome to A&E’s first-ever “stARTup” issue!

The Arts and Education Council has proudly served as one of

the most innovative arts startup investors in its six-decade history. Several of our

city’s most iconic performing arts groups began with financial support provided

by A&E; a shining example of which is Opera Theatre of Saint Louis (an A&E

grantee since its inception in 1976) which just celebrated its 40th Anniversary.

Even after 50-plus years, A&E continues to be at the forefront of supporting

and promoting new creative outlets: two of which - the Tennessee Williams

Festival, which launches this spring, and Young Liars theatre company, which is

currently in its first production run as I write to you - are tenants in A&E’s arts

incubator and collaboration space, the Centene Center for Arts and Education.

You can read more about these two startups as well as Chalk Riot, Show Me Arts

Academy, the National Blues Museum and the Saint Louis Fashion Incubator on

pages 3-6.

Finally, I had the distinct pleasure of meeting the National Endowment for the

Arts (NEA) chairman, Jane Chu, at a lunch with my peers from the Missouri Arts

Council and the Regional Arts Commission. I am excited by and echo Chu’s com-

mitment to “start a new dialogue on the ways in which the arts are an essential

component of our everyday lives.” As we have since 1963, A&E will continue to be

a strong voice in our community heralding the myriad benefits of the arts and arts

education – socially, economically, academically and culturally. We thank you for

your generous support that makes A&E’s impact upon our beautiful community

possible!

Sincerely,

Cynthia A. Prost

President and CEO

2

Letter from the President

3 Arts Startups: The Next Generation

10 Access to the Arts: Know & Go Calendar

13 Grantee Spotlight: CAM Teen Museum Studies

8 Business Leader in the Arts: Vanessa Cooksey

6 Arts Startups: National Blues Museum

ON THE COVER: Young Liars, an arts

startup and new tenant at the Centene

Center for Arts and Education. Read

the full story on page 3.

From left to right: Michael Donovan, exec-utive director of the Missouri Arts Council; Felicia Shaw, executive director of the Regional Arts Commission; Jane Chu, chairman of the National Endow-ment for the Arts; and Cynthia Prost, president and CEO of the Arts and Education Council.

3

It is not uncommon to see a headline

about another small business

startup in St. Louis. The recent

entrepreneurial activity includes

Launch Code, the hundreds of startups

housed in T-Rex and the many innova-

tive projects funded by Arch Grants.

While most of the stories in the news

focus on technology and business, the

arts have been busy as well.

St. Louis is currently ranked number

17 out of 900 cities across the country

in the National Center for Arts

Research (NCAR) Arts Vibrancy Index.

This ranking is based on each city’s

number of arts organi-

zations, audience

demand and govern-

ment support. The

widespread enthusiasm

and patronage of the

arts in St. Louis is

reflected in our high

rank, as evidenced by

some of the newest

arts organizations emerging out of the

breadth and depth of St. Louis's cul-

tural landscape.

Young Liars is a theatre company that

officially began in the fall of 2015, when

co-producing directors Maggie Conroy

and Chuck Harper “realized that the

city of St. Louis was ripe for innovative,

non-traditional theatre,” explains

Harper.

Currently a tenant in A&E’s Centene

Center for Arts and Education, Young

Liars focuses on challenging the stan-

dard perception of theatre through

interdisciplinary performances and

unusual adaptations of classical works.

Less than six months old, Young Liars

presented its first show in February

2016, which was a sell-out. The Dispute:

ARTS STARTUPS: Five New Members of the Next Generationof St. Louis's Creative Industry

A Spectacle for Lovers

and Fighters is an

adaptation of a 1744

comedy by Pierre de

Marivaux. Young Liars

presented the work in a

performance space at

the Centene Center.

Young Liars is already

working with established local and

regional artists to develop original

works. The positive response to their

mission has been tremendous. Harper

says, “We are finding the performance

community to be welcoming and

enthusiastic with regard to the idea of

collaborative and inter-disciplinary

performance.”

Harper’s vast experience working

and producing shows in cities across

the U.S. gives him a well-rounded per-

spective of the national opportunities

for new theatre companies. “St. Louis

is an ideal location for a startup the-

atre organization. The enthusiastic

support that we have already received

reinforced this immediately. And the

office, rehearsal and performance

opportunities provided by the Centene

Center are unparalleled. The facilities

that we are working in would be finan-

cially prohibitive in any other market.”

Young Liars is a tenant in A&E's Centene

Center for Arts and Education. To learn

more, find them at on.fb.me/1PPqtLC.

Young Liars performing The Dispute at the Centene Center for Arts and Education.

Another new tenant in A&E’s Centene

Center for Arts and Education is the

Tennessee Williams Festival, which

will present its inaugural festival May

11-15, 2016. After producing a Williams

play in October 2014 at The Boo Cat

Club, Carrie Houk, executive artistic

director, says, “I realized the thirst that

the St. Louis audience has for Mr.

Williams’ work … His most formative

years were spent in our city and I think

it's time to honor him.”

The festival will introduce Tennessee

Williams to those who might not be

familiar with one of America’s greatest

playwrights, poets and essayists. The

festival will include performances,

poetry readings, educational events

and visual arts components.

Houk is excited by the opportunities

available here to new organizations.

“The beautiful thing about being an

artist in St. Louis is that you can take

an idea and achieve goals much more

rapidly that one can in larger cities,”

Tennessee WilliamsFestival • St. Louis

St. Louis is currently ranked number 17 out of 900 cities across the country in the

National Center for Arts Research (NCAR)

Arts Vibrancy Index

Va

leri

e G

old

sto

n

4

she explains.

“I have lived in New York City, Los

Angeles and Chicago and I cannot

believe that we would have come this

far this fast in any other city.” The

community enthusiasm for the arts is

notable as well. “I feel the buzz of

excitement about our first festival,” she

says. “It is palpable.”

The Arts and Education Council is the

current fiscal sponsor for the Tennessee

Williams Festival, which is also a tenant in

the Centene Center for Arts and Education.

To learn more visit twstl.org.

Arts Startups (cont.)

The excitement for one of the city’s

newest arts education organizations is

also inspiring. Show Me Arts Academy

(SMAA) was established in August of

2014, and its first program launched in

early 2015. Marty Casey Mosley,

founder and artistic director, formed

the organization to make the arts more

accessible to underserved youth.

Created in the wake of the unrest in

Ferguson, Mosley wanted to build

Show Me Arts Academy participants.

Chelsea Ritter-Soronen, Chalk Riot.

Chalk Riot is an arts startup that

began as a “Saturday hobby” in 2013

when co-founders Chelsea Ritter-

Soronen and Rusty Conklin met at a

gathering of people interested in

murals. Soon they began creating

chalk art all over the city. Art St. Louis

contacted the pair in 2014 to partici-

pate in its ‘Art in the Plaza’ series,

which led to a steady flow of inquiries

for commissioned work for businesses

and events. In 2015 Chalk Riot was offi-

cially established.

Over the past two years Chalk Riot

has built on the initial relationship with

Art St. Louis. Now, the nonprofit helps

negotiate Chalk Riot’s commission

contracts with businesses and sends

out the invoices.

“The notion that there would be an

artist out there working individually,

doing it for very little money just to

get exposure is a scenario that we’re

trying to avoid,” explains Chandler

Branch, executive director of Art St.

Louis. “We’re thrilled that artists have

their independence, but what we try to

assure is that the artists get paid for

their work.”

“Our missions are so similar. We

linked up in the first place because we

believe in getting artists paid, we

believe in public art as a tool for com-

munity growth,” Ritter-Soronen adds.

The affiliation with Art St. Louis is ben-

something positive for the children of

that community.

What makes SMAA stand out is its

free and mobile programming, which

Mosley adapts to each location based

on the needs and available space.

Professional artists work with children

ages 5-18, teaching theatre, dance,

music, visual art, creative writing and

healthy habits. Mosley has had a flood

of positive feedback.

“The parents absolutely love our

model. It is often stated they have

never seen anything like us,” she

explains.

“The greatest story is to see the

transition of the children emotionally

from the beginning of the program

verses the end,” she continues. “At the

beginning they don’t know who or

what we are about so they are always

slow to move, but by the end they are

beating the instructors to the room,

ready to get started!”

Show Me Arts Academy has already

received an award from Delwood

Recreational Center for its recent time

there and is quickly growing. By sum-

mer of 2016 SMAA plans to hire addi-

tional professional artists and operate

multiple program locations in St. Louis. To learn more about Show Me Arts

Academy and its upcoming events, visit

showmeartsacademy.com.

5

Arts Startups (cont.)eficial for Chalk Riot in other ways as

well. “Having that support system,

mentally and in the public eye, has

helped us gain credibility,” explains

Ritter-Soronen. “I hope it’s a model

more nonprofits can find with new arts

businesses. It’s huge.”

The Central West End coworking

space, TechArtista, is also a contribu-

tor to Chalk Riot’s success. “We did a

mural for them in early 2015. Because

a lot of the people in that environment

are also self-starters and excited about

new businesses, it was very motivating

to be there,” says Ritter-Soronen.

She signed up for a membership to

have access to the workspace, but

more importantly, the community.

“There are people with all different

types of businesses - lawyers, finance

people, coders, inventors, artists. Any

question you have, somebody can

answer it there.”

“The cross-genre collaboration is so

important,” she continues. “Its hard to

do that in the arts industry, because

usually artists collaborate with other

artists, but there are so many creative

brains out there that aren’t so-called

‘fine artists,’ but are still creative pow-

erhouses. The more that we can col-

laborate that way then we can grow in

the same way that any other small

business can.”

Chalk Riot has certainly grown. This

summer they will expand to the Bay

Area, maintaining the management

relationship with Art St. Louis for their

local projects.

“It was scary, and it’s still scary,”

explains Riter-Soronen. “Being a busi-

ness owner and a freelance artist, both

of those things are scary. But that’s

also the thing that drives me to always

make it better and improve and keep

working to accomplish our mission.”

To learn more about Chalk Riot visit

getchalked.org. For more information about

Art St. Louis, visit artstlouis.org.

Soon joining the long list of arts start-

ups is a new project by the two-year-

old Saint Louis Fashion Fund: the Saint

Louis Fashion Incubator (SLFI),

scheduled to open fall of 2016 on

Washington Avenue in the historic

Garment District.

Eric Johnson, the newly appointed

executive director, is impressed by the

momentum behind St. Louis startups.

"At a macro level, I'm excited about

what's happening in St. Louis from an

entrepreneurship and innovation

standpoint," he explains. "From entre-

preneurship programs like Arch Grants

to incubators like T-Rex (where we're

housed for the next few months until

our space is built out) or Cortex,

there's an influx of young business tal-

ent and excitement around startups in

St. Louis like never before."

Rendering of the new Saint Louis Fashion Incubator.

The SLFI will house six nationally

selected emerging fashion designers,

giving them access to a design library,

photography studio and workspace

during a one to two year program

taught by local university faculty and

industry professionals. The program

will focus on teaching the business

acumen required for designers to

launch their own lines in addition to

developing industry and manufactur-

ing expertise. The SLFI will also offer

collaborative workstations for local

designers and community outreach

events to build local interest in the

fashion industry.

For more information about the SLFI

and the Saint Louis Fashion Fund, visit

saintlouisfashionfund.org.

The startups highlighted here repre-

sent just the tip of the iceberg of what

is an ever-expanding creative commu-

nity in the St. Louis region. As noted in

the NCAR Arts Vibrancy report, cre-

ative density leads to innovation and

economic growth – clearly demon-

strating that when the arts thrive, our

city thrives.

The Arts and Education Council was

a funder at the beginning of many of

our city’s cultural landmarks, helping

arts startups like Opera Theatre, COCA

and Jazz St. Louis to grow into healthy

and vibrant community treasures.

To read the NCAR Art Vibrancy report,

visit bit.ly/NCARArtsVibrancyIndex.

Eric Johnson, executive director of SLFI.

6

If you haven’t heard the buzz about

the new National Blues Museum,

you’ve been missing out. It’s already

at the top of to-do lists published by

the New York Times, CNN and the

Smithsonian, and it doesn’t even open

until April 2. Dion Brown, executive

director, says that the attention in the

press sets a high bar. “But we’re up to

the challenge,” he smiles.

Happenings recently spent an after-

noon with Brown, walking through the

under-construction exhibit halls to give

readers a sneak peak at the newest

addition to St. Louis’s lineup of cultural

gems.

Prior to joining the National Blues

Museum, Brown was executive director

at the B.B. King Museum in the

Mississippi Delta, where the blues were

born. His move to St. Louis follows the

same progression of the blues moving

up the Mississippi, and he believes St.

Louis is the ideal place for the national

museum for that very reason.

“As people started the great migra-

tion up the Mississippi the blues

stopped in Memphis, then St. Louis …

up to Chicago, Detroit, and on in to

Canada,” he explains. “It’s a logical

place for it to be here. You’re four hours

from Memphis, four hours from

Chicago, six hours from the Delta, so

it’s centrally located.”

The music followed the migration,

and with each new branch it took on a

new flavor. The storyline of the museum

shows this progression, then follows the

influence of the blues on different

genres of music.

"When you first start [in the

museum] it’s talking about the history

and the African American part of the

blues. But once you come through this

door, it shows how it influenced all

genres of music,” Brown explains as we

walk through the rooms.

“When I first got here I said, ‘This is

the Blues Museum, but it’s awfully

white.’ I don’t mind having those con-

versations after spending the past five

years in Mississippi,” he comments. “But

the more I walk these halls it makes

total sense. Once you come through

here you’re going into the transition and

how blues started to evolve and affect

all music: the British Invasion, Keith

Richards, the Allman Brothers.”

While picking a favorite exhibit is as

impossible as picking a favorite child,

Brown says he is most proud of the

Chuck Berry section. One of his first

projects at the museum, Brown worked

with Joe Edwards, Delmar Loop devel-

oper and businessman, to find items

that perfectly fit the story to represent

Chuck Berry’s career. He also holds the

B.B. King pieces close to his heart, as a

personal friend of the late musician and

a reminder of his time in the Delta.

In addition to the historic items, the

museum is filled with interactive exhib-

its. From the magnetic-poetry-style

songwriting screens to a jug band

recording station to the final Jack

White mixing room, visitors will be able

to create their own blues songs to take

home as they make their way through

the exhibits.

The museum’s performance space

will also be used for educational pro-

gramming. Brown plans to have fre-

quent live music on stage but will make

sure that the shows align with the mis-

sion: “One of my requirements is that

you have to tie in your performance to

an educational component for the blues

or rock and roll,” he says.

The stage will also be home to an

oral history program and Brown’s future

plans for a National Blues Museum

Band. The band will be made up of

young musicians, who will be led by a

mentor as they manage all aspects of

what it takes to put on a show. “It intro-

duces them to how the music business

runs and also teaches them about the

work that goes into live music before

they get to perform on the stage,”

Brown says. “The young musicians will

run the sound, the lights, and book

their own shows.”

And even though this is the National

Blues Museum, Brown hasn’t forgotten

about St. Louis. The final room of the

visitor experience will feature the local

music and blues scene. “Done by St.

Louisans and about St. Louis,” he says.

It will pay tribute to the fact that, while

many cities have talked about building

the National Blues Museum, Brown

smiles as he says, “St. Louis followed

through with it, and actually did it.”

The National Blues Museum opens April

2. Visit nationalbluesmuseum.org.

ARTS STARTUPS: The National Blues Museum

Dion Brown, executive director of the National Blues Museum, in front of the 'suitcase wall.'

7

Sometimes the best ideas just

bubble up.

That was more or less the

genesis of how COCAbiz got its start

roughly five years ago when visionary

board members and professional staff

at COCA (an A&E Sustaining Grant

recipient) began discussing ways to

support a more innovative environ-

ment in St. Louis from a business per-

spective.

“We wondered what COCA could

do to contribute to the business envi-

ronment through the arts,” says Steve

Knight, director of COCAbiz. “After all,

the arts are about creativity, innova-

tion and the courage to take risks to

do new things.”

After receiving a grant from the

Doris Duke Foundation for EmArts

Innovation Labs, which supports build-

ing strategic plans for new ideas in the

non-profit world, COCA envisioned a

program for the arts to serve the local

business community.

“What came out of the planning

process was the concept of pairing

high level teaching artists with busi-

ness facilitators,” Knight explains. “So

rather than talk about creativity or

how to innovate or to think like an art-

ist to solve business problems, the idea

is to use the artists to offer hands-on

exercises and activities from their arts

discipline. So participants are actually

doing things and experiencing, at least

in a small way, what it feels like to

engage in activities from those arts

forms.”

The role of the business facilitator is

to ask participants to reflect on what’s

happening to them when they are

engaged in that activity. “In other

words, what discoveries are being

made that they could take back and

apply in their business learning,” adds

Knight. “The idea is that by being

immersed in an arts experience, partic-

ipants are shaken out of intellectual

habits and put in a place to discover

new ways of doing things.”

Such were the beginnings of

COCAbiz, which over the years has

GRANTEE SPOTLIGHT: COCAbiz

worked with more than 30 St. Louis-

area businesses, including Monsanto,

BJC Healthcare, Edwards Jones, Nestle

Purina and Wells Fargo Advisors.

Several types of programs, lectures

and workshops are offered. One, called

“The Artful Speaker,” focuses on story-

telling and presentation skills, using

three teaching artists – a fiction writer/

poet, a visual/design artist and an

actor – to take business groups

through exercises using writing, visual

imagery and physical presence.

Participants learn to adapt artistic

practices for communicating complex

information and telling powerful sto-

ries.

“We do a lot of work with teams,”

says Knight. “We offer a workshop we

call the 'Rube Goldberg Team

Collaboration Challenge,' run by a

mixed-media visual artist. After learn-

ing about Rube Goldberg machines,

each team is given a box of crazy, mis-

cellaneous toys and materials. The

teams compete to see which can build

the wackiest machine to do something

simple like pop a balloon or blow out a

candle.

“Throughout the process the facili-

tator stops them to reflect on how

they are working as a team, how they

are processing decision making and

how they are dealing with the fact that

no one has the correct answer. They

are completely in a gray area where

they have to figure out how to suc-

ceed, and that leads to a rich conver-

sation on what it means to collaborate

on projects that demand creativity.”

So impressed with COCAbiz, St.

Louis University began embedding

COCAbiz workshops into its evening

MBA curriculum in 2014.

“We’ve taken the workshops and

expanded them into what we call pro-

fessional effectiveness modules,”

explains Suzy Hartmann, Assistant

Dean and Director of Master's

Programs at St. Louis University’s John

Cook School of Business.

“Students tell me ‘The Artful

Speaker’ module is one of the most fun

and worthwhile classes they have ever

taken. Typically, I only hear from stu-

dents when they think a class stinks,

but this one has gotten rave reviews.

It’s been really beneficial to our MBA

program.”

Knight feels COCAbiz is so effective

because arts activities are at the core.

It’s interactive, team-driven and works

to energize those involved.

“Participants always come away

excited with new ways to think about

things,” he says. “Our approach is really

different, it’s not the same old corpo-

rate learning model. That’s the secret

sauce. The combination of arts activity

and business reflection creates an

experience that is memorable and

engages participants in a unique way.”

COCA is an Arts and Education Council

Sustaining Grant recipient. For more infor-

mation about COCA, visit cocastl.org. For

more information about COCAbiz, visit

cocastl.org/cocabiz or call Steve Knight at

314-561-4862.

Workshop participants at the COCAbiz SPARK Conference.

8

Wells Fargo Advisors recently

donated $100,000 to the

Arts & Education Council,

half of which is being used to launch

the new Art Education Fund. The Fund

provides tuition scholarships and

transportation subsidies to talented

high school students to further their

artistic training (Learn more about the

newly established program on pg. 14).

The gift also helps grow A&E’s “Arts

Leadership and Management

Academy” (ALMA), an initiative Wells

Fargo Advisors has been supporting

for the past three years. ALMA pro-

vides workshops and professional

development opportunities to build

non-profits' organizational capacity

and program impact. The remainder of

the gift supports A&E’s annual cam-

paign.

Happenings recently spoke to

Vanessa Cooksey, senior vice president

and head of community affairs at

Wells Fargo Advisors, to discuss the

role of businesses and business leaders

in the local arts community.

Why is it important for businesses

such as Wells Fargo Advisors to sup-

port the arts in the St. Louis region?

It is important for Wells Fargo

Advisors to support the arts in St.

Louis because investing in communi-

ties is part of our company’s values.

One of our founders, Henry Wells,

believed it is not the number of years a

person lives but how a person uses

those years to help others that is mea-

sure of a life well lived.

St. Louis is Wells Fargo Advisors’

home office location. We make signifi-

cant investments in arts and culture, in

healthy aging, in financial education

and in workforce development,

because we know strong communities

are part of what makes for successful

business.

You are a financial investment com-

pany but also support the arts. What

is the connection between the two?

We want to hire people who have a

strong foundation in finance, business

and mathematics, but we also know

people who have had exposure to and

participate in the arts have developed

other key skills that are critical in our

business. Arts training helps with char-

acter building and creative thinking.

Innovation drives our business and

helps our clients succeed financially, so

having people with both quantitative

and qualitative skills is really important.

What led Wells Fargo Advisors to

support the new Art Education Fund?

We have significant investments in K-12

public education, particularly in the St.

Louis Public Schools. The inspiration to

invest in this program – with several

school districts in the North County

community – was so we could be more

inclusive of the those communities,

especially since the unrest in Ferguson.

We wanted to do something impactful

and ultimately sustainable. These are

kids who need opportunity, and if they

get that opportunity, they will continue

to grow. It was a very thoughtful and

strategic investment in a community

that needed it.

What measures or incentives has

Wells Fargo implemented to encour-

age employees to embrace the arts?

We have a wonderful offering and

strategy in what we call our team

member philanthropy. We offer eligible

team members volunteer service leave,

and we post opportunities for team

members to volunteer for several arts

organizations. We also give out tickets

to the performing arts in the commu-

nity and partner with our Team

Member Engagement and HR col-

leagues to offer tickets as special

incentives or rewards.

We also host special events at arts

organizations. We recently held our

Community Support Campaign thank-

you event at the St. Louis Art Museum.

Instead of having it in our building, we

used it as an opportunity to expose

team members to an organization

where we make investments.

How are the arts transformative?

I love that they provide a safe space

for diverse people to come and enjoy

together. If I’m at the Symphony enjoy-

ing the music and someone else not

from my same ethnic or racial back-

ground is there as well, we have the

music in common. So the question

then becomes: How can we take that

and start having some of the more

challenging conversations that would

help St. Louis better grow and heal?

For information about A&E's new Art

Education Fund read see page 5 or visit

KeepArtHappening.org. For information

about Wells Fargo Advisors visit

wellsfargoadvisors.com.

BUSINESS LEADER IN THE ARTS: Vanessa Cooksey, Wells Fargo Advisors

Cooksey at her office window overlooking the city.

9

MONSANTO RURAL COMMUNITY ARTS EDUCATION SPOTLIGHT: Jacoby Arts Center

The Jacoby Arts Center (an A&E

Monsanto Rural Community

Arts Education grant recipient)

provides Alton, Illinois with a perform-

ing arts venue, gallery space, educa-

tional programs and community out-

reach initiatives.

“We try to offer a variety of creative

opportunities and services that inspire

the imaginations of our community

members," explains Mary Vandevord, a

board member of the Jacoby Arts

Center.

"We think it is critical to give local

artists a space to showcase their work

and creative endeavors and to inspire

others in the community to feed their

creative desires,” Vandevord continues.

One of the Jacoby’s recent commu-

nity initiatives was 'The Next Big

Thing,' a youth entrepreneur workshop

held Jan 25-28. Produced in collabora-

tion with the University of Illinois

Extension, the workshop gave stu-

dents fifth through eighth grades the

opportunity to learn what it takes to

be an entrepreneur and inventor.

“The students showed a true pas-

sion for entrepreneurship and thrived

on creating their own ideas," com-

ments Jennifer Russel, Community and

Economic Development Educator at

the University of Illinois Extension.

"Students actively participated in

brainstorming sessions and then con-

tinued to work on their business ideas

outside of class time.”

The students learned about entre-

preneurship from local business lead-

ers, then developed their own inven-

tions and business plans. They worked

with graphic artists to create market-

ing plans, logos and business cards. At

the end of the workshop each student

presented their chosen business con-

cept to a panel.

“There was such excitement as the

students came back each day,” she

continues. “At the end of the program,

students made a class presentation in

front of local business owners, bankers

and family members.”

The Jacoby Arts Center also pro-

vides remarkable performances to

Alton residents. A host to local,

regional and national performers, the

Jacoby has featured artists including

River Bend Bluegrass Band, Bankside

Repertory Theater, Chris Nathan and

Erin Bode. The Jacoby Arts Center is a grant recipi-

ent of A&E's Monsanto Rural Community

Arts Education Program. For more informa-

tion visit jacobyartscenter.org.

BUSINESS LEADER IN THE ARTS: Vanessa Cooksey, Wells Fargo Advisors

BUSINESS LEADER IN THE ARTS (CONT.): The Wells Fargo Advisors Innovation Lab

Vanessa Cooksey's windows

(page 8) are covered in

sketches and flow charts

drawn in dry-erase marker during

brainstorming sessions. Her windows

have been a part of many creative

projects born in her office.

A few floors below Cooksey's office

sits the Wells Fargo Advisors Inno-

vation Lab, a new space intended to

spark that same inventive mindset on a

larger scale.

Equipped with iPads, large televi-

sion screens, open workspace, white-

boards, Herman Miller Spun chairs and

- yes - windows, Wells Fargo Advisors

Innovation Lab is a place for employ-

ees and business partners alike to

think outside the box. The Lab embod-

ies the company's commitment to

creativity and innovation that access

to and participation in the arts the

company supports through the A&E

Art Education Fund (See pg. 14 to

learn more).Wells Fargo Advisors Innovation Lab.

Young entrepreneur Maya Grassle presents a business concept for a vegetarian restaurant to the judge panel during 'The Next Big Thing' workshop.

10

ONGOING DISCOUNTS WITH THE ARTS CARD

JAZZ AT THE BISTRO

Offers 2-for-1 admission to most 9:30 pm shows

Wed-Thur. For details call 314.571.6000 or go

to jazzstl.org

MARCH EVENTS

ST. LOUIS SYMPHONY

Prokofiev Romeo and Juliet

WHEN: Mar 6; Sun, 3 pm

WHERE: Powell Hall, 718 N. Grand Blvd., St. Louis

COST: $25-$111

DISCOUNT: 2-for-1 admission with ARTS Card

for Sun, Mar 6 performance only (excludes

box seats)

Explore the great drama and tragedies of

Shakespeare’s “Hamlet” and “Romeo and Juliet.”

Prokofiev’s most recognized and haunting score

from one of the greatest love stories, “Romeo and

Juliet” is full of radiant textures and heart-break-

ing tenderness. 314.533.2500 or stlsymphony.org

ST. LOUIS SYMPHONY

Berlioz Romeo and Juliet

WHEN: Mar 11; Fri, 8 pm


COST: $25-$111


for Fri, Mar 11 performance only (excludes box

seats)

Berlioz pays homage to the most famous love

story in his elegant “Roméo et Juliette.” The St.

Louis Symphony and Chorus convey the magic

and brevity of love in this work performed under

the baton of Conductor Laureate Leonard Slatkin.

314.533.2500 or stlsymphony.org

AMERICAN CHAMBER CHORALE

Stabat Mater

WHEN: Mar 12; Sat, 7:30 pm

WHERE: Messiah Lutheran Church,

2846 S. Grand Blvd., St. Louis

COST: $20 adults, $18 seniors, $15 students,

$5 children


Music by two vastly different modern composers,

Arvo Part and Ola Gjello, performed by the Chorale

and Orchestra that is sure to engage the listener.

314.638.0793 or americanchamberchorale.com

NEW JEWISH THEATRE

Old Wicked Songs

WHEN: Mar 17- Apr 3; Wed-Thur, 7:30 pm; Sat, 8

pm; Sun, 2 & 7:30 pm

WHERE: Wool Studio Theatre at the Jewish

Community Center, 2 Millstone Campus Dr.,

Creve Coeur

COST: $39.50-$43.50, $15 students


(discount not available online)

A young American piano prodigy travels to

Vienna hoping to reconnect with his music and

shatter the artistic block that's plagued his

career. Through the sessions a link is created

between two generations of men, one a seem-

ing anti-Semite, the other a Jew, who find they

have much more in common than they think.

314.442.3283 or newjewishtheatre.org

REPERTORY THEATRE OF ST. LOUIS

Satchel Paige and theKansas City Swing

WHEN: Mar 18-Apr 10; Tues, 7 pm; Wed-Fri,

8 pm; selected Wed, 1:30 pm; Sat, 4 pm; Sun,

2 pm, selected Sun, 7 pm

WHERE: Browning Mainstage at the Loretto

Hilton Theatre, 130 Edgar Rd., Webster Groves

COST: $17.50-$79.50


March 16-27

In 1947, Jackie Robinson had broken baseball’s

color barrier, while Satchel Paige and his Negro

League All-Stars were barnstorming against

their white counterparts in the Majors. It was

baseball by day and jazz by night as the play-

ers tried to find their place in a country on the

verge of change. 314.968.4925 or repstl.org

ST. LOUIS SYMPHONY

Halen Plays Beethoven

WHEN: Mar 20; Sun, 3 pm


COST: $25-$111


for Sun, Mar 20 performance only (excludes

box seats)

Concertmaster David Halen will display his “sing-

ing tone and superior technique” (St. Louis

Post-Dispatch) with the sweeping melodies and

virtuosic finale of Beethoven’s Violin Concerto.


SHELDON CONCERT HALL

Julia Bullock, soprano with Renate Rohlfing, piano

WHEN: Mar 30; Wed, 8 pm

WHERE: Sheldon Concert Hall,

3648 Washington Blvd., St. Louis

COST: $25 orchestra, $20 balcony, $10 student


on full price tickets only (Tickets are available

by presenting the card in advance at the Fox

Theatre Box office at 531 N. Grand, or night of

show at The Sheldon Box Office between 7-8

pm. Offer good on full price tickets only.)

A St. Louis native and graduate of Opera

Theatre’s Artist-in-Training program, soprano

Julia Bullock is a rising star in opera, with per-

formances in New York, San Francisco and Paris

to her credit. 314.533.9900 or thesheldon.org

APRIL EVENTS

SAINT LOUIS CLASSICAL GUITAR SOCIETY

ŁukaszKuropaczewski

WHEN: Apr 2, Sat, 8 pm

WHERE: Ethical Society of St. Louis,

9001 Clayton Rd., Ladue

COST: $24-$28


(Use promo code "AandE" on website)

Internationally renowned Polish guitarist Łukasz

Kuropaczewski performs works from Spain, Italy,

and Poland. 314 229-8686 or guitarstlouis.net

Events Key Cinema Classical Dance Jazz Music Speaker Theater Visual Arts

MAR-APR 2016

ST. LOUIS SYMPHONY

Mahler 4

WHEN: Apr 3; Sun, 3 pm


COST: $25-$111


for Sun, Apr 3 performance only (excludes

box seats)

Soprano Susanna Phillips returns after her capti-

vating 2013 performance in Peter Grimes with the

STL Symphony performing the finale of Mahler’s

Fourth Symphony, a youthful work of innocence

and beguiling beauty. 314.533.2500 or

stlsymphony.org

SHELDON CONCERT HALL

Sheldon Classics: David Halen and members of the St. Louis Symphony

WHEN: April 6; Wed, 8 pm

WHERE: Sheldon Concert Hall,

3648 Washington Blvd., St. Louis

COST: $30 orchestra, $25 balcony, $15 student


on full price tickets only (Tickets are available

by presenting the card in advance at the Fox

Theatre Box office at 531 N. Grand, or night of

show at The Sheldon Box Office between 7-8

pm. Offer good on full price tickets only.)

St. Louis Symphony concert master David

Halen is joined by pianist Peter Martin, who will

set aside his usual jazz repertoire to perform a

range of classical favorites by Bach, Beethoven

and Bartok! 314.533.9900 or thesheldon.org

HETTENHAUSEN CENTERFOR THE ARTS

Cameron Carpenter featuring the International Touring Organ

WHEN: April 7; Thur, 7:30 pm

WHERE: McKendree University, Alton Street,

Lebanon, Illinois

COST: $22 adult, $18 senior, $10 student & child


Virtuoso composer-performer Cameron

Carpenter smashes the stereotypes of organ

music, with a diverse repertoire that includes

Bach, film scores, original works and jazz-pop

collaborations. 618.537.6863 or thehett.com

ST. LOUIS SYMPHONY

Pictures at an Exhibition

WHEN: Apr 15; Fri, 8 pm


COST: $25-$111


for Fri, Apr 15 performance only (excludes

box seats)

Mussorgsky produced his Pictures at an Exhibition

to honor the memory of a friend. In the process,

he created a monument far more massive and

lasting than his friend’s paintings. Ravel’s vibrant

orchestration brings these musical treasures to life

culminating with the majestic Great Gate of Kiev.


DANCE ST. LOUIS

Ensemble Español Spanish Dance Theater

WHEN: Apr 15-16; Fri, 8 pm; Sat, 2 & 8 pm

WHERE: Touhill Performing Arts Center,

One University Blvd., St. Louis

COST: $30-$55, matinees are $30


for any performance. Parterre sides or grand

tier seating only. Offer only valid through the

Dance St. Louis Box office, not valid through

the Touhill Box office. Must be purchased by

4 pm Thursday before show.

With passion, power and spectacle, the 40 danc-

ers, singers, musicians and guest artists highlight

a mosaic of Hispanic cultures from around the

world. 314.534.6622 or dancestlouis.org

COCA FAMILY THEATER

TRIumphant Spring Repertory Coneert

WHEN: Apr 15-17; Fri, 7 pm; Sat-Sun, 2 pm

WHERE: 524 Trinity Ave., University City

COST: $12-$16


for Sat 2 pm show only

COCA’s student dance companies (COCAdance,

Ballet Eclectica and the Hip-Hop Crew) con-

clude their seasons with a Spring Repertory

Concert featuring pieces from local and national

choreographers. 314.561.4877 or cocastl.org

THE BLACK REP

Twisted Melodies

WHEN: April 20-May 1; Wed-Thur, 7 pm; Fri-Sat,

8 pm; Sat-Sun, 3 pm

WHERE: Edison Theatre at Washington

University

COST: $30


to limited performances (call box office for

details)

“Twisted Melodies” is a journey through the

mind of musical genius Donny Hathaway. We

see a man lost in space and time, battling

schizophrenia and trying to come to terms with

everything. 314.534.3810 or theblackrep.org

MUSTARD SEED THEATRE

Bosnian/American

WHEN: April 22- May 1; Thur–Sat, 8 pm;

Sun, 2 pm

WHERE: Fontbonne University Fine Arts

Theatre, 6800 Wydown Blvd., Clayton

COST: $30, $25 for students and seniors

DISCOUNT: $10 off admission with ARTS Card

Born in Bosnia and raised in St. Louis; painful his-

tory meets present reality in a play that celebrates

the true stories of our neighbors. 314.719.8060 or

mustardseedtheatre.com

ST. LOUIS SYMPHONY

Dvořák 7

WHEN: Apr 24; Sun, 3 pm


COST: $25-$111


for Sun, Apr 24 performance only (excludes

box seats)

Dvořák sought to create a work “capable of

stirring the world” with the Seventh Symphony.

Czech conductor Jakob Hrůša makes his STL

Symphony debut leading this work by his beloved

compatriot. 314.533.2500 or stlsymphony.org

ST. LOUIS SYMPHONY

Storytelling

WHEN: Apr 29; Fri, 8 pm


COST: $25-$111


for Fri, Apr 29 performance only (excludes

box seats)

Symphonic music has tremendous power to tell

the story! From Ponchielli’s Dance of the Hours to

Dukas’s mischievous The Sorcerer’s Apprentice,

let the orchestra be your guide on this musical

adventure exploring tales from around the globe.


11

Łukasz Kuropaczewski, Saint Louis Classical Guitar Society

12

Thanks to the Arts and Education

Council’s Maritz Art Education

Fund for Teachers, many of the

450 students at Willow Brook

Elementary School in the Pattonville

School District will have the opportu-

nity to learn how to sew as part of an

innovative, choice-based art curricu-

lum that encourages creative expres-

sion. The new sewing center thrills no

one more than the school’s art teacher

and unofficial sewing coach Dawn

Lynn.

“Personally, I love to sew,” says

Lynn. “It’s also become one of the

more popular studios I teach. The kids

actually line up to get on one of the

machines.”

Lynn explains that she has adopted

a national model of teaching art called

TAB – Teaching for Artistic Behavior –

which allows students to make choices

as to the art projects they want to pur-

sue, including sewing. The hope is that

by giving them choices over their

work, students will be better engaged

and motivated, and more responsible

for outcomes.

“With TAB, my job is to provoke

questions and help with problem solv-

ing,” says Lynn. “There really is a lot of

natural collaboration.”

Lynn’s art room no longer looks like

a typical classroom. Hutches, kitchen

tables and dining room chairs fill the

space, giving it a homey feel. It’s also

MARITZ ARTS AND EDUCATION FUND FOR TEACHERS: Willow Brook Elementary School

divided into various art “centers” such

as painting, drawing, fiber arts, ceram-

ics, collage, sculpture, architecture and

now, sewing, all available to the stu-

dents.

“I started teaching TAB last year

because I felt like I was missing groups

of kids, especially some of the boys

who weren’t as engaged in art class,”

Lynn explains. As a fan of sewing, she

brought in the sewing machine that

her mother gave her she was 16.

“Within no time, there was such

interest in sewing, including from the

boys, that the PTO helped me pur-

chase another machine,” Lynn adds.

The enthusiasm led her to search for

additional funds. Now, with the sup-

port from A&E’s Maritz Art Education

Fund for Teachers, the sewing center

will include four new sewing machines

and additional sewing materials for the

students.

Lynn says before students can sew

on the machines, they must demon-

strate some proficiency at hand sew-

ing. As is the case with all TAB proj-

ects, students come in with an idea

and fill out a “plan sheet” that details

how they intend to pursue it.

“They continue to work in class until

they fulfill their WOW project –

Wonderful Original Work,” says Lynn.

“Sometimes they have deadlines, other

times they work on the project until its

natural completion.”

Lynn says student engagement in

her art classes is higher than ever

before. She adds that the interest in

sewing continues to grow, with ideas

for community projects coming from

the students themselves.

“One boy said his mother sews pil-

lowcase dresses for girls in Africa, so

we started doing that,” says Lynn.

Another group project has students

sewing decorative pillowcases for local

children with cancer, and a future one

will have them involved in sewing proj-

ects for the adult day care center

located near the school.

Lynn believes that in addition to

producing work that builds their self-

esteem and expands their creativity,

students also develop critical thinking

skills through sewing.

“They have to make many decisions

that will affect the outcome,” she says.

“When they finish a project, they have

to fill out a reflection piece about why

they made it and how they did it. As

student-artists, they have a good deal

of creative control, which gives them a

true sense of pride in their work.” The Willow Brook Elementary School

Sewing Studio Center is an Arts and

Education Council Maritz Fund for Teachers

Grant recipient. For more information about

Willow Brook Elementary School and the

Sewing Studio Center visit

willowbrook.psdr3.org.Dawn Lynne helping students with projects.

Fourth-grade students working on a project in the new Willow Brook sewing studio.

13

Students visit the studio of exhibiting artist Cole Lu.

GRANTEE SPOTLIGHT:

CAM's Teen Museum Studies Program

What do I want to do when I

grow up? It’s a question we

all have to ask ourselves

and, eventually, answer. The

Contemporary Art Museum St. Louis

(CAM) (an A&E Operating Grant recipi-

ent) is helping students learn what it's

like to grow up to become an artist

through hands-on experience.

CAM’s “Teen Museum Studies”

offers local teenagers opportunities to

learn about museum careers and gain

practical work experience in every-

thing from public relations and

accounting to curating art exhibitions.

Created in 2010, the program offers

12 students the opportunity to partici-

pate in the six-week summer intensive

and receive a stipend for their work.

Tuan Nguyen, CAM’s education direc-

tor, explains, “The program started as

a way to engage students who were

interested in the arts but who weren’t

necessarily interested in a studio path

to the arts.”

Participating students come from

schools all over the St. Louis

Metropolitan Area and from a range of

backgrounds. During the selection pro-

cess, Nguyen identifies students with a

variety of different experiences, skills

and strengths.

The mix of interests can be seen in

the careers they pursue once they

complete the program. Many students

go on to college, focusing on careers

in everything from graphic design to

computer animation to biology.

Nguyen feels the creativity and skills

participants develop through the pro-

gram benefit them in any career.

“I’ve seen students go from very

shy and timid to being very active in

putting their voice and opinion out

there,” says Nguyen.

“One of the things that students

always remark upon is the growth they

have experienced in learning how to

work with people – people they don’t

know and with different backgrounds,”

he continues. “I think one of the hidden

benefits of the program is that ability

to work together and collaborate to

make things happen.”

As part of the program, students

curate and organize an art exhibition in

CAM’s Education Gallery. In 2015, the

students worked with artist Cole Lu to

plan an exhibit that examines the barri-

ers created when we communicate

using technology. Students went

through a detailed selection process

before choosing Lu for a solo show.

The students then worked closely with

Lu to present the exhibit. The process

– including working within a budget

and meeting deadlines – was driven

entirely by the students.

“The students always rise to the

challenge,” reflects Nguyen. “At the

beginning, they are shocked and over-

whelmed by the amount of responsibil-

ity, agency and power that they have.

But by the end of the program, they’ve

grown into it, and you can see them

gain confidence from being empow-

ered.” The Contemporary Art Museum St. Louis

is an A&E Operating Grant recipient. For

more information visit camstl.org. For more

information about artist Cole Lu, visit cole-

lu.com.

Students learning correct art handling with CAM Registrar Jessi Cerutti.

A&E PROGRAM: Art Education Fund Call for Applications

Applications are now available

for the Arts and Education

Council's Art Education Fund,

underwritten in part by Wells Fargo

Advisors. Selected students will

receive tuition scholarships or trans-

portation subsidies to further their

artistic training at art and art educa-

tion organizations.

“Return on investment through the

Art Education Fund is measured by

the number of students who we have

actually impacted,” explains Vanessa

Cooksey, senior vice president and

head of community affairs at Wells

Fargo Advisors.

“That’s what makes this program so

special. We’re giving young people

access to opportunity and exposure

through arts and culture, which has the

ability to positively impact their life."

Cooksey knows the benefits of a

more expansive art education reach

beyond artistic skill. “Music, for

instance, tends to help students in

math, and this program gives students

exposure to music. So, if that helps a

student struggling with math do bet-

ter, that’s the return on investment I

want.”

Five school districts have been

selected for the initial Art Education

Fund program: St. Louis Public

Schools, Normandy Collaborative,

Ferguson-Florissant School District,

Riverview Gardens School District and

the Jennings School District.

As part of the application, a teacher,

ensemble director, music administrator

or arts organization instructor must

submit a nomination for the student.

The student is also required to submit

a personal essay, recommendations

and samples of his or her work.

For more information or to nominate a

student for the Art Education Fund, visit

KeepArtHappening.org/you/apply.

Sponsored by:

MAKERS OF ST. LOUIS: Priscilla Block, ArtWorks

"There aren’t many teenagers that

can introduce themselves with a firm

handshake, keep eye contact and

explain in a succinct way what

they’re working on ... to be able to

learn these skills and use them in a

universal group of people and be

able to continue articulating what

they’re working on is huge. ... And

last but not least, they walk out of

here with a paycheck and a resume.

On that resume it has contact infor-

mation for their clients, and if they’re

interested in going on in art they’ll

have a portfolio as well.”

Priscilla Block has served as

executive director of St. Louis

ArtWorks (an A&E PNC Project

Grant recipient)since 2001. The organi-

zation was founded in 1995 as a job-

training program for underserved high

school students.

Professional artists work with stu-

dents to complete commissions from

local companies. Students are paid for

their work, and through the projects

they learn essential life and work skills

including fiscal literacy and public

speaking. When they leave the pro-

gram they have polished resumes and

full work portfolios.

Block is receiving a 2016 St. Louis

Visionary Award for Outstanding Arts

Professional for her work with the

organization. In her time with

ArtWorks, it has grown to offer year-

round programming and support three

social enterprises: Boomerang Press/

Media, which creates graphics, greet-

ing cards, video documentaries and

PSAs; BoomerRacks, which creates

bike racks made from up-cycled bicy-

cle parts; and BloomWorks, which

makes art for gardens, pubic parks and

urban streetscapes.

In 2016, ArtWorks will provide 180

jobs for teens and 22 jobs for local art-

ists. ArtWorks incubated for almost

ten years in A&E’s Centene Center for

Arts and Education and recently

moved into a brand new 18,000

square-foot building on Delmar that

includes a state-of-the-art media room

and a Makers Space.

St. Louis ArtWorks is an Arts and

Education Council PNC Project Grant recip-

ient and former tenant at A&E's Centene

Center for Arts and Education. Learn more

about ArtWorks at stlartworks.org.

Block in the new St. Louis ArtWorks

building.

14

15

Melvin D. Bozeman, Jr. grew up

wanting to be a professional

basketball player, but by the

time he got to McCluer North High

School, he realized that wasn’t likely to

happen.

In his sophomore year his mother

“forced” him to join the school’s choir.

She had a wonderful experience sing-

ing in the choir when she was in high

school, and she wanted the same for

Melvin.

“I said, ‘Mom, singing in the choir is

lame. I’m not doing that,’” Bozeman,

now 19, recalls. “But with my mom you

don’t argue. You just do.”

The surprise was that Bozeman,

unbeknownst to anyone at the time,

has a remarkable voice. So when his

choir teacher told him about another

McCluer student who had received a

full scholarship to University of

Kentucky’s prestigious voice program,

Bozeman decided maybe singing was

something he should pursue more seri-

ously.

“I began to search for summer vocal

programs and ran across one at Opera

Theatre [of Saint Louis],” Bozeman

says. The Spring Training Vocal Camp,

organized by Opera Theatre (an A&E

Sustaining Grant recipient), offers high

school singers private voice lessons

and individual attention in master

classes. Bozeman was able to secure a

scholarship to attend.

“I was taken aback a little by the

whole thing,” he explains. The summer

program was his first experience with

opera, and he had a hard time getting

used to the different vocal style.

Nevertheless, at the beginning of

his junior year, he was encouraged to

audition for Opera Theatre’s Monsanto

Artist-in-Training (AIT) Program, which

offers nine months of college-level

voice lessons, including individual

weekly coaching classes from faculty

at Southern Illinois University-

Edwardsville, Washington University of

St. Louis, Webster University and

University of Missouri–St. Louis. The

IMPACT ON INDIVIDUAL: Melvin D. Bozeman, Jr. Monsanto Artist-in-Training, Opera Theatre of Saint Louis

highly selective program also offers

master classes with visiting artists,

awards more than $25,000 annually in

scholarships and provides opportuni-

ties for students to attend local per-

forming arts events free of charge.

Melvin was one of 23 high school

students to be accepted to the pro-

gram. He was also awarded a full

scholarship, which covered tuition,

transportation expenses and anything

else connected to the program. Still, he

wasn’t convinced that opera was his

“thing.”

Bozeman admits that seeing opera

performed live took some getting used

to. “I even fell asleep the first couple of

times,” he says laughing. “But then I

started getting into them, especially

the comedic operas.”

He returned to OTSL’s AIT program

his senior year and received its top

scholarship honor, the Monsanto Prize

of $4,000. Bozeman also earned a full

scholarship to the University of

Kentucky in Lexington, where he cur-

rently is a freshman studying voice.

“Opera Theatre’s AIT program

opened up an incredible world that I

otherwise most likely would never have

explored,” Bozeman says. “The teach-

ing is incomparable. I've never heard of

any other program like this. I go to

school now with talented kids from all

over the country, and when I tell them

about AIT, they cannot believe the

opportunity I had.”

That’s probably because there really

is no other program like OTSL’s

Monsanto Artist-in-Training. “It’s really

the only one of its kind in the United

States,” said Allison Felter, director of

education and community engage-

ment at OTSL. “There are some pro-

grams that are a variation on this

theme but none as comprehensive as

ours, where students are given expo-

sure to the best of what opera has to

offer.”

Felter explains that to date, more

than 210 students have completed the

program and more than $438,000 in

scholarships have been awarded. The

list of program graduates who have

gone on to enjoy professional careers

in opera is astounding.

Both Felter and Bozeman agree that

another benefit of the AIT program is

the students’ experience of what it

means to pursue opera as a career.

This doesn’t just include artist residen-

cies by visiting opera stars, but also

road trips to visit universities and col-

leges that offer stellar voice programs.

Bozeman credits AIT for changing

his life in ways he never could have

imagined.

“Believe me, I took a lot of razzing

from friends about studying opera,

especially in my community and in my

culture because it’s different from

what is known,” he said. “But that’s

exactly why I enjoy it and have so

much passion about it. It is something

different.

“AIT has given me so much, and

now I want to be a voice for another

young person who might not have

considered this. I can’t even begin to

tell you what an impact this program

has made on my life.” Opera Theatre of Saint Louis is an A&E

Sustaining Grant recipient. To learn more

visit opera-stl.org.

Melvin D. Bozeman, Jr.

16

MY ARTS STORY: Roxanne Adams, Ameren

For 30 years, Ameren

Corporation has held an annual

employee workplace giving

campaign to raise money for the Arts

and Education Council. Since 1986,

Ameren employees have contributed a

total of more than $2.9 million to the

arts and arts education programs A&E

supports throughout the 16-county

metropolitan area. In 2015 alone, more

than 1,120 associates participated in

the workplace campaign, contributing

over $115,000.

Ameren is well-known for outstand-

ing corporate philanthropy – particu-

larly for the arts, arts education and

cultural diversity in our community.

A&E recently recognized Ameren’s

exemplary corporate citizenship by

awarding retired Chairman, President

and CEO Tom Voss and his successor,

Warner Baxter, with the 2015 St. Louis

Arts Award for “Corporate Leadership

in the Arts.”

Alongside this strong support for

the arts from the company’s top exec-

utives, Ameren’s success as A&E’s sec-

ond largest workplace giving cam-

paign is largely due to an active and

involved campaign team: Roxanne

Adams, Elaine Frisk and Mary Swan

(retired in 2015).

Roxanne Adams, executive secre-

tary for Shawn Schukar, senior vice

president for Ameren Business

Transmission Development, serves as

the primary campaign coordinator and

manages 25 other coordinators in dif-

ferent divisions within the company.

Ameren’s A&E campaign typically lasts

about two weeks.

“It’s a new experience every year for

me and we try to keep expanding,”

explains Adams. “We get together and

share our ideas. I try to get as many

people as possible involved, and word

spreads.

Hosting special events and bringing

artists in to perform for employees at

the Ameren headquarters campus as

well as other facilities are her favorite

parts of running the campaign.

“We try to offer a variety and to try

something new every year. Last year,

we had [Circus Flora’s] Claire the

Clown. I had her right in front of the

main entrance so everyone who

walked in ran into her,” says Adams. “It

was great. Usually when people walk

into the building thinking of their work

schedule for the day, they aren't smil-

ing; but with her there it just put a big

smile on everybody's faces, and she

even got a couple of people to dance

with her.”

As for why it’s important for com-

panies like Ameren to support the arts,

Adams believes it’s about creating a

community where people want to live.

“Everyone has families here and

everyone loves the variety of cultures

and entertainment the arts provide,”

she explains. “They offer so much all-

around: entertainment, education and

exposure to new things.”

For Adams, personally, it’s the

impact the arts have on education that

drives her support for the arts. “There

are so many statistics proving that [the

arts] help our children develop and be

well-rounded individuals,” she says.

“Different organizations and children

would never be exposed to the arts if

it weren’t for the Arts and Education

Council.”

In addition to hosting an annual

workplace giving campaign, Ameren

makes an annual corporate gift, as well

as provides sponsorship support for

A&E’s annual St. Louis Arts Awards. In

total, Ameren’s support for the Arts

and Education Council topped

$200,000 last year. Ameren’s 2016

workplace giving campaign is sched-

uled to launch in April. For more information on launching a

workplace giving campaign for A&E, visit

KeepArtHappening.org or call Heather

Edwards, development manager, at 314-

289-4000.

Roxanne Adams.

SPECIAL EVENT: The 2016 Saint Louis Visionary Awards

The Saint Louis Visionary Awards

celebrate the numerous contri-

butions and achievements of

women who work in or support the

arts in our city. To date, 75 women

have been honored for their commit-

ment and innovation. The Arts and

Education Council is proud to serve as

fiscal sponsor for the 2016 Awards.

Relaunched in 2015, the event hon-

ors the extraordinary women of St.

Louis who personally and profession-

ally contribute to the preservation,

growth and strengthening of our

region's rich cultural tapestry.

The Saint Louis Visionary Awards

will take place April 25, from 6-8 pm at

the Sun Theater, co-hosted by Arts and

Education Council President Cynthia

Prost and Monsanto Fund President

Deborah Patterson.

The 2016 Visionaries are: Phoebe

Dent Weil, Major Contributor to the

Arts; Denise Thimes, Outstanding

Working Artist; Priscilla Block, Exec-

utive Director of St. Louis ArtWorks,

Outstanding Arts Professional; Sabina

England, Emerging Artist; Stacy West,

Executive and Artistic Director of

MADCO, Outstanding Teaching Artist;

and De Andrea Nichols, Community

Impact Artist.

For tickets and information about the

2016 Saint Louis Visionary Awards, visit

vizawards.org.

17

SPECIAL EVENT: The 2016 St. Louis Arts Awards

The 2016 St. Louis Arts Awards

was held Monday January 25 at

the Chase Park Plaza.

Celebrating its 25th anniversary,

the St. Louis Arts Awards honored

individuals, organizations and busi-

nesses that enrich and contribute to

the excellence of St. Louis’s ever-grow-

ing artistic community.

Jim and Stacey Weddle served as

chairs of the event, with World Wide

Technology, Inc. and the Steward

The 2016 St. Louis Art Award, by Sam Stang.

Family Foundation as Presenting

Sponsors and Edward Jones as the

Silver Anniversary Sponsor.

Proceeds from the event benefit

the Arts and Education Council’s

annual giving campaign which pro-

vides financial support, professional

development, incubator space and col-

laborative opportunities for nearly 70

arts and arts education organizations

throughout the 16-county, bi-state

region each year.

Jim and Stacey Weddle, co-chairs.

COCA's Hip-Hop Crew performing Redd Riddin' Thru the Hood.

The Bosman Twins closed the evening with a performence featuring Dwight Bosman's daughter, Morgan Bosman. Left to right: Ptah Williams, Montez Coleman, Dwayne Bosman, Morgan Bosman, Dwight Bosman, Jeffrey Anderson.

2016 St. Louis Arts Awards Honorees.

2016 St. Louis Arts Awards Honorees

Agnes Wilcox, Prison Performing ArtsLifetime Achievement in the Arts

Arthur & Helen Baer Charitable FoundationExcellence in Philanthropy

Doug Erwin, Ferguson-Florissant School DistrictArt Educator of the Year

Bach Society of Saint LouisExcellence in the Arts

Dr. Jacquelyn Lewis-Harris, University of Missoui-St. LouisArts Collaborator

Dr. Tim and Kim EberleinChampions of the Arts

The Bosman TwinsExcellence in the Arts

18

Arts Awards (cont.)

Principal Sponsor

Excellence in the Arts Award

Sponsor - The Bosman Twins

Nancy and Ken Kranzberg

Gift Sponsor

Stage & Entertainment Sponsor

Art Educator of the Year

Award Sponsor

Principal Benefactor Sponsor

Lynne and Jim Turley

Gift Bag Sponsor

Production Sponsor

Wine Sponsor

Media Sponsors

Honoree Luncheon Sponsor

Kick Off Reception Hosts

Jim and Stacey Weddle

Premier Table Sponsor

Major Benefactors

Alison and John Ferring

Fox Family Foundation

Left to right: (back) DeAnn Fross, Irasa Downing, Kurtis Downing, Krystal Price, Dave Price, Scott Lenz, (front) Mike Fross, Jim Weddle, Stacey Weddle, Melissa Lenz.

Left to right: (back) Robert Steward, Ida Goodwin Woolfolk, Eric Banks, Maria Bradford, Gene Dobbs Bradford, Lenore Pepper, (front) Lisa Steward, Darlene Davis, Pamela Webb, Edwin Pepper.

Left to right: (back) Patrick Sly, Kelly Pollock, Redd Williams, Antonio Douthit-Boyd, Kirven Douthit-Boyd, Patty Wente, (front) Pam Mandelker, Lisa Caplan, Jenifer Stoffel, Ben Scanio.

Thank you to our sponsors:

Silver Anniversary Sponsor

Presenting Sponsors

19

Circle of Giving December 1, 2015 – January 30, 2016

$5,000 and aboveThe Gertrude & William A.

Bernoudy FoundationMrs. Mary LangenbergNestle Purina PetCare

CompanyEvelyn B. Olin Charitable

TrustSt. Louis Community

Foundation

$2,500 -$4,999.99AT&TContinental Research

Corp.Mrs. Kay K. DreyMr. Gary L. Hall and Ms.

Sandy BlasingameMrs. Sally C. JohnstonDr. Robert PackmanSt. Louis College of

PharmacyStifel

$1,000 - $2,499.99Mr. and Mrs. Peter F.

BenoistTerrence and Susan BlockMr. and Mrs. Andres A.

BonifacioMr. and Mrs. Stephen F.

BrauerJohn & Yvette DubinskyMrs. Ernest A. Eddy, Jr.Mr. and Mrs. Julian I.

EdisonMr. and Mrs. David C.

FarrellMrs. Judith P. GallMrs. Bettie GershmanJohn & Dora R. GianoulakisJoan GoodsonMs. Sheila Greenbaum and

Mr. Gary M. WassermanMr. Claude GunnMs. Dorian Hansen and Mr.

Michael E. SmithMary Brenton Howe and

The following donors have made gifts that enable the Arts and Education Council to help preserve St. Louis’ legacy of artistic excellence and enrich its cultural community. A&E appreciates the continued support from these individuals, businesses and organizations. Thank you!

In Tribute December 1, 2015 –January 30, 2016

In honor of Dr. Tim and Kim Eberlein

Mr. and Mrs. James G. Berges

Mrs. Sandra CannonMr. and Mrs. Thomas

Howard Gray ElliottMr. and Mrs. David C.

FarrellMs. Anne Kessen LowellMs. Barbara Langsam

Shuman

In honor of the Bosman Twins

Ms. Cheryl D. S. Walker

To make your gift to the A&E, visit KeepArtHappening.org or contact Kate Francis, Vice President of Development, at (314) 289-4003 or [email protected].

PRESIDENT & CEO

Cynthia A. Prost

VICE PRESIDENT OF

ADMINISTRATION

& GRANTS

Susan Rowe Jennings

VICE PRESIDENT

OF DEVELOPMENT

Kate Francis

CONTROLLER

Joseph Soer

DEVELOPMENT

MANAGERS

Heather Edwards

Dorothy Powell

DEVELOPMENT

ADMINISTRATION

Tonya Hahne

Patricia Tichacek

DEVELOPMENT &

EVENTS COORDINATOR

Melissa Howe

ONLINE GIVING &

GRANTS COORDINATOR

Mandi Hanway

MARKETING

COORDINATOR

Krista B. Grant

MARKETING

CONSULTANTS

Ellen Futterman

Christine Blonn

Staff

Centene Center for Arts and Education

3547 Olive Street, St. Louis, MO 63103-1014

p 314.289.4000 f 314.289.4019

2016 Board of DirectorsCHAIR

Leonard T. Eschbach

SECRETARY

Peter Sargent

TREASURER

Ruth Saphian

MEMBERS

Nora Akerberg

Susan Block

Sheila Burkett

Chris Cedergreen

Diane Drollinger

John Gianoulakis

Barbara B. Goodman

Kristin J. Guehlstorf

Jason Hall

Cary D. Hobbs

Nicole Hudson

C. Brendan Johnson

Eric Koestner

Kenneth Kranzberg

Linda Lee

Janet Newcomb

Rachelle Rowe

Shawn Schukar

Donald M. Senti

Mary Ann Srenco

Susan A. Stith

Andrew Trivers

Carol J. Voss

Caren Vredenburgh

IMMEDIATE PAST CHAIR

Terrance J. Good

EX-OFFICIO

Cynthia A. Prost

James H. Howe IVRobert and Andrea

JacksonMr. and Mrs. Ward M. KleinMr. and Mrs. James A.

KrekelerJ. David & Lucy S. LevyCharles and Janet MeyerMr. and Mrs. Michael F.

NeidorffMr. and Mrs. Raymond W.

Peters IIMr. and Mrs. Kenneth E.

SchutteMr. and Mrs. Andrew

SrencoSt. Louis Public RadioDr. Mark S. WeilMr. David P. Weiss

$500 - $999.99Anonymous (1)Mr. and Mrs. James G.

BergesMr. and Mrs. Gene Dobbs

BradfordMr. and Mrs. Russell E.

BrowningMr. and Mrs. Jack L. CahillCOCA Center of Creative

ArtsCompetitive Range

Solutions, LLCMr. and Mrs. Tom B.

DomianMrs. Katherine W. DrescherEdwin Pepper InteriorsJohn E. & Phyllis L. EvansMs. Karin M. HagamanMs. Dorothy J. HeagneyJazz St. LouisRobert E. and Carol G.

JonesMr. and Mrs. Eric B.

KoestnerWarren and Susan

LammertMrs. Mary LaPak

Mr. and Mrs. Joseph D. Lehrer

McPheeters & Rickard Family Fund

Mr. Harry MooreLaura Rand Orthwein, Jr.Prison Performing ArtsMr. and Mrs. James

ProbsteinPulaski Financial

CorporationMr. and Mrs. J. Richard

SkoubyMr. and Mrs. Stephen W.

SkrainkaMr. Harley M. Smith and

Dr. Veronica M. HilyardSt. Louis Children's

ChoirsMs. Nancy StaudtTDC St. LouisMs. Irene L. ThaldenDr. David C. Wilson

Peter H. Bunce • Ann M. Corrigan Joseph E. Corrigan • Karen J. Isbell James A. Krekeler • Glenn Sheffield Judith Cozad Smith • Michael W. Weisbrod

Arts and Education Council

African Heritage Association of St. Louis, Inc.

African Musical Arts

AIGA (American Institute of Graphic Arts)

Leverage Dance Theater

Bach Society of St. Louis

Cinema St. Louis

Circus Flora

Gateway Center for Performing Arts

Gateway Men's Chorus

Peter Martin Music

Prison Performing Arts

St. Louis Symphony Volunteer Association

Tennessee Williams Festival

Upstream Theatre

Young Liars

Centene Center for Arts and Education Tenants

stlouisbbb.org

Dorte Probstein

Centene Center for Arts and Education

3547 Olive Street

St. Louis, Missouri 63103-1014

2013 Missouri Arts

Award-Philanthropy

2012 Spirit of

Philanthropy Award

/ArtsAndEducation ArtsAndEducSTLArts_Education_Council@ArtEdStl

APRIL 25, 2016 | 6-8 PMSun Theater in Grand Center

EVENT CO-HOSTS: Deborah Patterson & Cynthia Prost

OUTSTANDING WORKING ARTIST

Denise Thimes

COMMUNITY IMPACT ARTIST

De Andrea Nichols

MAJOR CONTRIBUTOR TO THE ARTS

Phoebe Dent Weil

Join us for a night of celebration and inspiration, followed by a reception to honor our

2016 Visionaries

OUTSTANDINGARTS PROFESSIONAL

Priscil la Block

EMERGING ARTIST

Sabina England

OUTSTANDING TEACHING ARTIST

Stacy West

Sa int Lou is Vi s ionary Awards are f i sca l l y sponsored by Arts and Educat ion Counc i l .

Documents

March-April 2015 Happenings