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2010<br />

annual<br />

report<br />

the harlem school of the arts

2010<br />

annual<br />

report<br />

the harlem school of the arts

3<br />

<strong>HSA</strong> at a Glance<br />

act one<br />

vision<br />

Nearly 50 years ago, acclaimed opera soprano<br />

Dorothy Maynor founded the Harlem School of the<br />

Arts <strong>to</strong> give young people and adults “the freedom<br />

<strong>to</strong> develop the artist, student and citizen within<br />

themselves in an environment that emphasizes<br />

rigorous arts training, stimulates creativity, builds<br />

self-confidence and adds a dimension of beauty<br />

<strong>to</strong> their lives.” Since that time, <strong>HSA</strong> has evolved<br />

in<strong>to</strong> a renowned training ground–a place of vision,<br />

excellence, and community in which students have<br />

the support <strong>to</strong> pursue their artistic passions.<br />

In FY10, some 1,000 students, ages 4-18,<br />

registered in our Open Enrollment courses,<br />

Summer Camp, and High School/College Prep<br />

program; we reached an additional 750 children<br />

through our Arts Extension Program in New York<br />

City’s public and charter schools. Regardless of<br />

age, initial skill level, or interests, all these students<br />

gained artistic literacy and skills, confidence in<br />

their own creative powers, and appreciation for<br />

the world’s great cultural traditions. They grew as<br />

artists and individuals, guided and supported by:<br />

Our outstanding faculty. The more than 60<br />

teaching artists on our roster are drawn from the<br />

nation’s <strong>to</strong>p institutions–including The Juilliard<br />

School and the Yale School of Drama; the Ailey<br />

School/Fordham B.F.A. Program, New York<br />

University, and Cooper Union. They maintain their<br />

own impressive artistic schedules–<strong>to</strong>uring with<br />

the Duke Elling<strong>to</strong>n Orchestra; performing at the<br />

Roundabout Theater and the Metropolitan Opera<br />

Ballet; exhibiting at Sotheby’s–but their devotion<br />

<strong>to</strong> teaching <strong>HSA</strong>’s young people always comes<br />

first. Once at <strong>HSA</strong>, they tend <strong>to</strong> stay for many<br />

years, demanding the best from their students and<br />

providing them with nurture and support. They are<br />

the force behind generations of nascent artistes.<br />

Our award-winning 37,000 square-foot facility<br />

designed specifically for art instruction,<br />

performance and exhibition. We have three<br />

beautiful, Balanchine-designed dance studios;<br />

piano and percussion studios; computer labs;<br />

a well-equipped visual arts studio; a central<br />

performance space; instrumental practice rooms;<br />

and a contemporary sculpture garden and<br />

waterfall-backed courtyard. Our adjacent Black<br />

Box Theater is sought out by professional reper<strong>to</strong>ry<br />

companies from across the city and beyond.<br />

Our open doors. <strong>HSA</strong> students include the<br />

pre-schooler handling his first paint brush and the<br />

mezzo-soprano en route <strong>to</strong> Conserva<strong>to</strong>ry; the<br />

born-and-bred Harlem child and the teenager<br />

traveling many miles <strong>to</strong> attend our classes. By<br />

keeping tuition low–and by offering scholarships<br />

wherever feasible–we serve those who may have<br />

few, if any, other chances <strong>to</strong> study art.<br />

Our programmatic scope. <strong>HSA</strong>’s curriculum<br />

allows students <strong>to</strong> explore and find their own<br />

particular artistic voice and strengths. It covers all<br />

four disciplines of music, dance, theater and visual<br />

arts, and–within each discipline–offers beginner<br />

and advanced level training; and classes within a<br />

range of styles. Our students study hip-hop and<br />

ballet; Kandinsky, Michelangelo, and Jacob<br />

Lawrence; classical and avant-garde theater;<br />

Mozart and Coltrane.<br />

Our rich relationships. <strong>HSA</strong> is a gathering<br />

place for families, who connect with one another,<br />

entrust us with their children, and give us new<br />

perspectives and hands-on help. <strong>HSA</strong> is the<br />

grateful partner of many donors. Some have been<br />

with us for decades; others came <strong>to</strong> us for the first<br />

time this past spring. <strong>HSA</strong> is a home base and<br />

launching pad for its students. They return <strong>to</strong> us<br />

each year with their shining gifts–as performers,<br />

teachers, and role models. We are both anchor and<br />

resource for Harlem’s great cultural institutions.<br />

Established and emerging companies perform and<br />

exhibit in our space; they offer us master classes<br />

and internships; they keep us on the cutting edge<br />

of the art world.

5<br />

Letter from the Board Chair<br />

Dear Friends,<br />

On behalf of the Board of Direc<strong>to</strong>rs of the Harlem<br />

School of the Arts (<strong>HSA</strong>), I am pleased <strong>to</strong> offer you<br />

a report chronicling the challenging, demanding,<br />

yet–ultimately–uplifting past year of <strong>HSA</strong>’s<br />

his<strong>to</strong>ry. On April 1, 2010, having run out of funds,<br />

we closed our doors and faced the unthinkable<br />

prospect of shutting down forever. We were closed<br />

for three long weeks, until an extraordinary group of<br />

angels came through <strong>to</strong> help us finish out the year.<br />

Mayor Bloomberg, Commissioner of Cultural<br />

Affairs Kate Levin, and other City officials were<br />

articulate and powerful ambassadors on our<br />

behalf. Luminaries of the philanthropic and artistic<br />

worlds–including The Herb Alpert Foundation, The<br />

Starr Foundation, and two anonymous donors–<br />

collectively contributed more than $1 million <strong>to</strong><br />

re-open our doors. A sterling team of business,<br />

artistic and community leaders formed a Board<br />

equipped <strong>to</strong> safeguard both our world-class status<br />

and our particular role within the Harlem<br />

community. A <strong>to</strong>p-level Planning Committee<br />

comprised of renowned leaders in the arts began<br />

drafting a strategic plan for our long-term fiscal and<br />

programmatic stability.<br />

Throughout the crisis, <strong>HSA</strong> families, faculty, and<br />

staff members resolutely put students’ well-being<br />

ahead of all other considerations. Parents met<br />

and communicated with us on a daily basis.<br />

Faculty agreed <strong>to</strong> stay on for three weeks beyond<br />

our usual school closing date <strong>to</strong> help make up for<br />

the missed sessions.<br />

Staff members remained ready and informed;<br />

they swiftly returned us <strong>to</strong> full functioning. Most<br />

importantly, our students never gave up on<br />

us–or on themselves. They maintained practice<br />

schedules; rushed back <strong>to</strong> classes; and were able<br />

<strong>to</strong> mount some of <strong>HSA</strong>’s best-ever end-of-year<br />

exhibitions and performances.<br />

This report illuminates the full dimensions of <strong>HSA</strong>’s<br />

place within the art capital that we call home–as<br />

cultural icon, community oasis, and springboard for<br />

young people’s artistic development. It displays the<br />

greatness that we achieve by harnessing creativity,<br />

vision and persistence. It expresses our gratitude<br />

for the loyalty and determination of our supporters.<br />

FY 2010 taught us, as nothing else could, that our<br />

administrative, fundraising and fiscal standards<br />

must be as high as our artistic ones. We are aware<br />

of the difficult decisions that lie ahead–and of the<br />

hard work required <strong>to</strong> re-build confidence and<br />

create a solid and sustainable financial base. We<br />

know that the eyes of all who rallied <strong>to</strong> our cause<br />

are fixed on our performance. We pledge ourselves<br />

<strong>to</strong> be worthy of your faith and your generosity–<strong>to</strong><br />

be astute, diligent stewards of the incomparable<br />

resource with which we have been entrusted.<br />

Charles J. Hamil<strong>to</strong>n, Jr.

6<br />

7<br />

Overview of the Board<br />

Charles J. Hamil<strong>to</strong>n, Jr., Chairman<br />

Mr. Hamil<strong>to</strong>n graduated from Harvard College, Harvard Law School (J.D.,<br />

1975) and received a Masters Degree in City Planning from M.I.T.<br />

Mr. Hamil<strong>to</strong>n is a Partner of La Cité Development, LLC, and has been a<br />

Partner in the law firms of Battle Fowler LLP and Paul, Hastings, Janofsky<br />

& Walker LLP. Mr. Hamil<strong>to</strong>n is also on the Board of Direc<strong>to</strong>rs of the<br />

Environmental Defense Fund, and the Phoenix House Foundation, Inc, and<br />

serves as a Trustee of the Lawyers’ Committee for Civil Rights Under Law.<br />

Ephraim Emmanuel<br />

Born in Trinidad and Tobago, Mr. Emmanuel studied law at the University<br />

of the West Indies, Barbados. For twenty years, Mr. Emmanuel practiced<br />

law and was an Associate Tu<strong>to</strong>r at the Sir Hugh Wooding Law School in<br />

Statu<strong>to</strong>ry Interpretation & Legal Drafting. In 1998, Mr. Emmanuel migrated<br />

<strong>to</strong> the United States, is a small business proprie<strong>to</strong>r, and presently teaches<br />

English <strong>to</strong> immigrants. Currently, Mr. Emmanuel serves as the President of<br />

the Harlem School of the Arts Parents Association.<br />

Janice Savin Williams, Vice Chair & Secretary<br />

Born in Kings<strong>to</strong>n, Jamaica, Ms. Savin Williams is a graduate of Tufts<br />

University and is Co-Founder and Senior Principal of The Williams<br />

Capital Group, L.P. She has served on the Board of Lenox Hill Neighborhood<br />

House, North General Hospital and ISI, Inc., as well as not-for-profit<br />

organizations such as The Fresh Air Fund. Currently, Ms. Savin Williams<br />

serves on the Board of Direc<strong>to</strong>rs of Women In Need and the NAACP-<br />

ACTSO, among others.<br />

Mil<strong>to</strong>n Irvin, Treasurer<br />

Mil<strong>to</strong>n Irvin is a Managing Direc<strong>to</strong>r and Americas Head of Diversity and<br />

Inclusion for UBS. Mr. Irvin graduated from the United States Merchant<br />

Marine Academy and an MBA from the Whar<strong>to</strong>n School of Business,<br />

University of Pennsylvania. In 1994 President Clin<strong>to</strong>n appointed him <strong>to</strong> the<br />

Advisory Committee of the Pension Benefit Guaranty Corporation for which<br />

he served as Chairman. He currently serves on numerous Boards including<br />

the Whar<strong>to</strong>n Graduate Executive Board, the Summit New Jersey YMCA.<br />

Nina Cooke John<br />

Ms. Cooke John is the founding principal of the architecture firm Studio<br />

Level LLC. She earned a Bachelor of Architecture degree from Cornell<br />

University and a Masters of Science in Advanced Architectural Design from<br />

Columbia University. She has worked on such cultural institutions as the<br />

New York Botanical Gardens and the Clin<strong>to</strong>n Library. Ms. Cooke John also<br />

teaches architecture and design strategy at Syracuse University and most<br />

recently at Parsons the New School for Design.<br />

Edith W. Cooper<br />

Ms. Cooper is global head of Human Capital Management at Goldman<br />

Sachs, and first joined the firm in 1996 <strong>to</strong> build and lead the firm’s Energy<br />

Sales Group in New York. She was named partner in 2000. She earned an<br />

MM from the Kellogg School of Management at Northwestern University<br />

and an AB from Harvard and Radcliffe Colleges. Ms. Cooper is also on the<br />

Board of Trustees for Teach for America’s Fairfield Chapter.<br />

Steven P. Henry<br />

Since 1997, Mr. Henry has been the Direc<strong>to</strong>r of the Paula Cooper Gallery<br />

in New York. Prior <strong>to</strong> 1997, Mr. Henry was the Associate Direc<strong>to</strong>r at the<br />

Margo Leavin Gallery in L. A., and previous <strong>to</strong> that he worked at the New<br />

Museum of Contemporary Art in New York, and the Dallas Museum of Art.<br />

He is a Trustee of the Board of Advisors at the Little Opera Theatre of New<br />

York and the Inner City Foundation of New York. He holds Bachelor of Arts<br />

degrees in Art His<strong>to</strong>ry and Political Science from Northwestern University<br />

and both an MBA and a Masters in Arts Administration from Southern<br />

Methodist University in Dallas.<br />

Jeffrey Laikind<br />

A Certified Financial Analyst since 1967, Mr. Laikind was Co-Founder and<br />

Managing Direc<strong>to</strong>r of Prudential Securities Asset Management, raising over<br />

$2 billion in assets and generating over $50 million in revenues. He is a<br />

graduate of Cornell University and the NYU Graduate School of Business.<br />

In 1999, Mr. Laikind co-founded StreetSquash, an urban enrichment<br />

program serving over 750 high school students in Harlem. Mr. Laikind has<br />

also chaired the Executive Committee of the New York City Opera.<br />

Mary Schmidt Campbell<br />

Dr. Campbell has been Dean of New York University’s Tisch School of the<br />

Arts since 1991. Dean Campbell began her career as the Executive<br />

Direc<strong>to</strong>r of the Studio Museum in Harlem. In 1987, Mayor Edward I. Koch<br />

invited Dr. Campbell <strong>to</strong> serve as Commissioner of Cultural Affairs of the<br />

City of New York. Dean Campbell holds a B.A. degree in English Literature<br />

from Swarthmore College, an M.A. in Art His<strong>to</strong>ry from Syracuse University,<br />

and a Ph.D. in Humanities, also from Syracuse. In September of 2009 Dean<br />

Campbell was appointed by President Barack Obama as the Vice Chair of<br />

the President’s Committee on the Arts and Humanities.

8<br />

9<br />

Letter from the Planning Committee Co-Chair<br />

Dear Friends,<br />

Executive Summary<br />

This past spring, I was deeply honored <strong>to</strong> be<br />

invited <strong>to</strong> co-chair the Planning Committee<br />

charged with creating a blueprint for the Harlem<br />

School of the Arts. <strong>HSA</strong>’s Strategic Planning<br />

Committee, a stellar group, generously brought<br />

expertise and wisdom <strong>to</strong> the process of planning<br />

the future of a stellar institution.<br />

My colleagues on the Committee included:<br />

Michael Kaiser–Planning Committee Co-Chair;<br />

President of the Kennedy Center for the<br />

Performing Arts<br />

Robert Campanna–Direc<strong>to</strong>r at Prudent<br />

Management Associates; recently retired Executive<br />

Direc<strong>to</strong>r of the Music School Settlement of<br />

Philadelphia<br />

Aaron Flagg–Professor and Dean of the Hartt<br />

School of the Arts, University of Hartford; former<br />

Executive Direc<strong>to</strong>r of the Music Conserva<strong>to</strong>ry of<br />

Westchester and Direc<strong>to</strong>r of Educational Outreach<br />

at The Juilliard School<br />

Charles J. Hamil<strong>to</strong>n– <strong>HSA</strong> Board Chair; At<strong>to</strong>rney<br />

and Partner of La Cité Development, LLC<br />

Reynold Levy–President, Lincoln Center; former<br />

President 92nd Street Y and President of the<br />

AT&T Foundation<br />

David Rivel–Direc<strong>to</strong>r of City Parks Foundation;<br />

former President of the Brooklyn Conserva<strong>to</strong>ry<br />

of Music<br />

Janice Savin Williams–<strong>HSA</strong> Board Vice-Chair;<br />

Co-Founder and Senior Principal of the Williams<br />

Capital Group<br />

Over the course of the summer, our group<br />

reviewed <strong>HSA</strong>’s assets, conducted an<br />

environmental scan of comparable arts institutions,<br />

and investigated overall best practices in the<br />

field. By the early fall of 2010, we had developed<br />

a strategic platform from which <strong>HSA</strong> can move<br />

forward over the next five years. Our findings and<br />

recommendations cover four main areas:<br />

• Strengthening <strong>HSA</strong>’s core organizational<br />

capacities–continuing <strong>to</strong> build a committed,<br />

visionary, generous board; hiring a longterm<br />

executive direc<strong>to</strong>r with <strong>to</strong>p leadership<br />

skills; creating robust, state-of-the-art financial,<br />

human resource, development, marketing and<br />

communications departments.<br />

• Putting in place practices ensuring longterm<br />

financial sustainability–correcting past<br />

organizational and financial management<br />

deficiencies; establishing efficient and<br />

accountable financial management systems;<br />

establishing a viable working budget; calibrating<br />

balanced and appropriate tuition, salary, and<br />

scholarship rates; identifying new earned income<br />

revenue streams; expanding the number of first<br />

time donors—individual, corporate and<br />

foundation.<br />

• Examining all curricular offerings–identifying<br />

areas of high demand; including curricular<br />

offerings unique <strong>to</strong> <strong>HSA</strong> within a competitive<br />

New York City market; reviewing and eliminating<br />

programming non-essential <strong>to</strong> <strong>HSA</strong>’s core<br />

mission; conducting aggressive recruitment<br />

efforts for leading practitioners in all four of<br />

<strong>HSA</strong>’s program areas—visual arts, theater,<br />

dance and music; strengthening programmatic<br />

and professional partnerships.<br />

• Strengthening, expanding, and appropriately<br />

publicizing <strong>HSA</strong>’s unique assets–its<br />

magnificent facilities; superb faculty; diverse<br />

and comprehensive course offerings in its four<br />

arts divisions; and connections and<br />

collaborations with pre-eminent arts and<br />

educational organizations and leadership.<br />

As you will see in the pages that follow, <strong>HSA</strong><br />

has taken these goals and guidelines strongly<br />

<strong>to</strong> heart.<br />

For several months, the new Board and <strong>HSA</strong> staff<br />

have been taking definitive steps <strong>to</strong> correct serious<br />

deficiencies in financial management, and install<br />

clear lines of accountability.<br />

The new Board demands 100% participation<br />

in giving from its members and is pursuing the<br />

engagement of a number of additional members<br />

with the willingness <strong>to</strong> commit time and money<br />

<strong>to</strong> the institution. Staff and Board have launched<br />

a range of dynamic new fundraising efforts;<br />

and the search for a new permanent Executive<br />

Direc<strong>to</strong>r is well underway. The Board is putting in<br />

place policies <strong>to</strong> keep the School both financially<br />

sustainable and accessible <strong>to</strong> those for whom<br />

talent exceeds family income. To create new<br />

income, the School is expanding rentals of its<br />

facility and forming vibrant alumni and parent<br />

associations. To attract new students, the School<br />

will review and sharpen its curriculum. The<br />

School has invested in a range of imaginative<br />

new marketing approaches and plans <strong>to</strong> bolster its<br />

pre-professional programs, and is exploring<br />

potential new partnerships with the city’s finest<br />

educational and arts institutions, so as <strong>to</strong> increase<br />

its reach and broaden its students’ professional<br />

and educational opportunities.<br />

We on the Planning Committee are proud <strong>to</strong><br />

have been part of a process that will help <strong>HSA</strong><br />

continue pursuing a mission vital <strong>to</strong> the Upper<br />

Manhattan community in which it resides, build<br />

on its achievements, and assume its rightful and<br />

recognized place as one of the crown jewels of<br />

arts education in this city.<br />

Mary Schmidt Campbell<br />

<strong>HSA</strong> Music Student Sunny Roberts<br />

<strong>HSA</strong> Planning Committee Co-Chair and <strong>HSA</strong> Board<br />

member; Dean of the Tisch School of the Arts; former<br />

Chair of the New York State Council on the Arts

11<br />

Dance<br />

<strong>HSA</strong>’s Dance Department supports every aspect<br />

of young dancers’ development–it strengthens<br />

their technique, encourages their passion, and<br />

builds their Dance “vocabulary.” Students are<br />

initially evaluated, so they can enter the class(es)<br />

best suited <strong>to</strong> their skills and interests. They then<br />

can progress through a rich menu of courses,<br />

developing their proficiency and comfort level<br />

with a wide range of styles. As they move forward,<br />

their options deepen and broaden–they can join a<br />

classical ballet corps or a modern dance troupe; a<br />

Hip Hop, Jazz, Tap, or African Dance ensemble or<br />

a Broadway-style chorus line. They gain<br />

the great and invaluable freedom that<br />

comes from versatility, confidence<br />

and poise–in their careers<br />

and in their lives.<br />

In FY10, <strong>HSA</strong> Dance students performed<br />

at City College’s Aaron Davis Hall in a dynamic<br />

reper<strong>to</strong>ire of works. They choreographed and<br />

danced West African dances <strong>to</strong> African folk music;<br />

and ballet productions <strong>to</strong> Western music ranging<br />

from Tchaikovsky <strong>to</strong> Scott Joplin <strong>to</strong> Philip Glass.<br />

<strong>HSA</strong> students were featured in a video of the pop<br />

singer Shakira’s World Cup theme song, Waka<br />

Waka. Their end-of-year production included a<br />

Chinese-American modern dance piece–Fear<br />

Not–choreographed <strong>to</strong> the music of Ludwig Van<br />

Beethoven, in which they performed side-by-side<br />

with professional dancers from <strong>HSA</strong>’s Artist-in-<br />

Residence Nai Ni Chen Dance Company.<br />

act two<br />

excellence<br />

<strong>HSA</strong> Faculty Member Joseph Webb

12<br />

13<br />

Cynthia Shipley<br />

I knew this was<br />

where I belonged;<br />

that it was the best<br />

place I could be.<br />

“The incredible strength of the school–the<br />

incredible strength of the students–really came<br />

out this spring, when we shut down for three<br />

weeks…and then had <strong>to</strong> rush back and put<br />

<strong>to</strong>gether a show.”<br />

Cynthia Shipley–Ballet, Dance, and Pilates<br />

teacher–had just begun preparing students for<br />

<strong>HSA</strong>’s major end-of-semester dance performance<br />

at City College’s Aaron Davis Hall when the school<br />

was forced in<strong>to</strong> a three-week furlough.<br />

“While we were closed, I kept in <strong>to</strong>uch with my<br />

students–<strong>to</strong>ld them <strong>to</strong> keep practicing; <strong>to</strong>ld them<br />

not <strong>to</strong> lose hope. When the doors re-opened, they<br />

had <strong>to</strong> begin all over again, catch up, work doubletime.<br />

I won’t say there wasn’t a lot of yelling–it was<br />

all pretty nerve-wracking. But they pulled it off.<br />

They more than pulled it off. Their performances<br />

were brilliant.”<br />

Ms. Shipley–who studied at the Peabody<br />

Conserva<strong>to</strong>ry and the Dance Theatre of Harlem,<br />

and has <strong>to</strong>ured the country with numerous<br />

dance companies–reflects on the reasons for<br />

her students’ fierce devotion. “We teach them <strong>to</strong><br />

do their best, of course. They know it is what is<br />

expected of them. Most of all, however, I think they<br />

do it because they love this school. This is the<br />

place that has believed in them, that has nurtured<br />

them, that has opened up new vistas for them.<br />

This is their community. None of them wants <strong>to</strong> let<br />

that community down.”<br />

Princess Romero<br />

“You might say that <strong>HSA</strong> and its teachers have<br />

been family <strong>to</strong> me,” states Princess Mecca Romero,<br />

recent graduate of the College Prep Dance<br />

Program. “My mother went here. Mr. Lewis–one<br />

of my <strong>HSA</strong> teachers–was actually one of her<br />

classmates. I basically grew up here. Every day I<br />

commuted from Queens, where we lived, <strong>to</strong> my<br />

high school down<strong>to</strong>wn, <strong>to</strong> <strong>HSA</strong> up<strong>to</strong>wn, then<br />

back <strong>to</strong> Queens. But it didn’t matter. I knew this<br />

was where I belonged; that it was the best place<br />

I could be.”<br />

Which is not <strong>to</strong> say that it was easy. “Each of our<br />

teachers pushed us beyond what we thought<br />

we could do in a different way. Ms. Shipley was<br />

never mean, but she expected us <strong>to</strong> give our all.<br />

We loved her so much that we just had <strong>to</strong> be as<br />

amazing as we could, so she would be proud of<br />

us. And Mr. Pavlovsky–he was Russian, classically<br />

trained–he demanded CLASSICAL form. So we<br />

gave him CLASSICAL form. Mr. Lewis taught a<br />

mixture of Modern (mostly Hor<strong>to</strong>n), Hip-Hop–and<br />

Jazz. It was so <strong>to</strong>ugh, emotionally and physically,<br />

that when I finished his class, I felt I could do<br />

anything. And Ms. Glass–Ms. Glass never let<br />

me coast on my technical skills (I was always<br />

technically good); she helped me dance from my<br />

heart, from my passion.”<br />

Princess has known that she wanted <strong>to</strong> dance<br />

“from the moment I could walk.” And she has<br />

been training for it ever since. “I’ve had a lot of<br />

teachers. I went <strong>to</strong> a special ballet-focused grade<br />

school and attended high school at Professional<br />

Performing Arts School (PPAS). Now that I’m<br />

in college, at California Institute of the Arts, I’m<br />

majoring in Dance. But there is no doubt that<br />

it was the teachers at <strong>HSA</strong>–more than anyone<br />

else–who made me the dancer I am <strong>to</strong>day.”<br />

This is the place that<br />

has believed in them,<br />

that has nurtured them,<br />

that has opened up<br />

new vistas for them.

14<br />

Clifford Jones<br />

15<br />

Music<br />

When Clifford Jones plays the piano, his fingers<br />

speed across the notes with such power and grace<br />

that it is, in the words of a fellow student, “as if<br />

there were six sets of hands at the keyboard.”<br />

<strong>HSA</strong>’s Music Department produces well-rounded,<br />

accomplished solo and ensemble musicians<br />

through a curriculum that includes rigorous<br />

individual instrumental and voice lessons;<br />

jazz and chamber groups; and intensive study of<br />

theory, composition, rhythmic literacy, and<br />

music technology. The program develops students’<br />

familiarity with–and ease in performing–Western,<br />

African, and Latin music. They leave with<br />

the training, the fluency, and the flexibility <strong>to</strong><br />

understand, take part in, and enjoy a wide range of<br />

musical forms and venues.<br />

FY10 was a jam-packed year of musical<br />

performances and opportunities. The <strong>HSA</strong> Jazz<br />

Band performed at the US Open, the New York<br />

City Marathon, and the Transit Workers’ Union’s<br />

Martin Luther King, Jr. and Women’s His<strong>to</strong>ry<br />

Month celebrations. The Dorothy Maynor Singers<br />

performed traditional holiday carols at the TD<br />

Bank’s 125th Street branch. There were ongoing<br />

school recitals by members of the Clarinet, Guitar,<br />

Percussion, Piano, Trumpet, Violin, and Vocal<br />

Studies classes; and of the Children’s Chorus<br />

and the Recorder Ensemble. End-of-year recitals<br />

featured vocal performances from Franz Shubert’s<br />

Ave Maria, George Gershwin’s Porgy and Bess,<br />

and Disney’s Aladdin.<br />

“I started on the piano very late–at age 14. I <strong>to</strong>ok<br />

this one music class, in high school–a required<br />

course–and suddenly I knew this would be my life. I<br />

found a piano and began teaching myself. I worked<br />

on my own for three years. Then a member of my<br />

church <strong>to</strong>ld me about <strong>HSA</strong>.”<br />

Clifford’s life changed yet again when he came<br />

<strong>to</strong> the School. “My teachers taught me that the<br />

sky’s the limit. Ms. Delilah introduced me <strong>to</strong> new<br />

composers and new music–I moved from Mozart<br />

<strong>to</strong> Chopin <strong>to</strong> Rachmaninoff <strong>to</strong> Liszt. I really ‘found’<br />

myself with Liszt–what works best for me just<br />

seems right for Romantic music.” Clifford now<br />

practices five hours a day on weekdays and eight<br />

hours on weekends–while maintaining a full course<br />

load in college. He plays at recitals and composes<br />

his own music. In the summer, he is a counselor at<br />

the <strong>HSA</strong> camp.<br />

“I work with the four and five year olds and I find<br />

I really like it,” he recounts. “It makes me think I<br />

might want <strong>to</strong> teach–<strong>to</strong> do for other kids what <strong>HSA</strong><br />

has done for me.”<br />

My teachers taught me<br />

that the sky’s the limit.<br />

Tsyala Khudad-Zade<br />

Tsyala Khudad-Zade, or–as she is universally and<br />

affectionately known–“Ms. Delilah,” is a piano<br />

soloist and accompanist. She was born and raised<br />

and was trained at conserva<strong>to</strong>ry in Tbilisi, Georgia.<br />

But she has found her real home in Harlem.<br />

“All my life, I looked <strong>to</strong> the West, I dreamed of<br />

the West. I didn’t know it at the time, but I<br />

was dreaming of <strong>HSA</strong>. I am sitting here because<br />

I love it.”<br />

Ms. Delilah explains that she honed both her<br />

command of English and her incomparable<br />

teaching skills by working with her students. Over<br />

the past 31 years, she has worked with hundreds<br />

of young people–those who have gone on <strong>to</strong><br />

become professional musicians, those who simply<br />

love <strong>to</strong> play, and those whose whole lives have<br />

been transformed by music. Her office is vividly<br />

decorated with memen<strong>to</strong>s of her students–layers<br />

of pictures and notes of appreciation.<br />

“I teach everybody, everybody,” she declares.<br />

“There is no child who can’t benefit from learning<br />

<strong>to</strong> play. One of the students who came <strong>to</strong> me<br />

had some big intellectual challenges. He wasn’t<br />

succeeding in school; he was so discouraged.<br />

But once he sat down at the piano, he came alive.<br />

As he mastered the music, it helped him with<br />

everything else.”<br />

Ms. Delilah tells her students: “Don’t take art<br />

for granted. Art is precious and priceless.”<br />

They hear her.<br />

<strong>HSA</strong> Student Aden Parrish

16<br />

17<br />

Theater<br />

Zora Howard<br />

“The theater just grabbed me,” states Zora<br />

Howard, former <strong>HSA</strong> student, now studying at<br />

Yale University. “I tried it all here–ballet, art, violin,<br />

chorus–it’s one of the great things about <strong>HSA</strong><br />

that it is all here, that you can try it all. But what<br />

grabbed me most was the stage.”<br />

All the opportunities I could<br />

ever want were here...the<br />

school gave us the chance <strong>to</strong><br />

really stretch ourselves.<br />

Students in the <strong>HSA</strong> Theater Department<br />

benefit from a traditional conserva<strong>to</strong>ry approach<br />

covering all aspects of dramatic performance and<br />

production. They enroll in classes on monologue<br />

development; audition techniques; scene<br />

development; movement (including Clowning, and<br />

Stage Combat); voice and speech. They study<br />

theater his<strong>to</strong>ry and theatrical technology. They<br />

strengthen their performance range and reper<strong>to</strong>ire<br />

through commercial and theatrical auditions and<br />

acting showcases that<br />

display the full scope of<br />

their dramatic, comic,<br />

and musical talents.<br />

In FY10, <strong>HSA</strong> students acted in productions that<br />

included excerpts from Shakespeare’s<br />

Julius Caesar; a staged reading of Douglass<br />

Turner Ward’s satire, Day of Absence; and George<br />

C. Wolfe’s The Colored Museum. Two Theater<br />

students made their silver screen debut in Cold<br />

April–a film based on the true s<strong>to</strong>ry of the girls of<br />

the St. Maria Goretti School in Rwanda who were<br />

slaughtered after refusing <strong>to</strong> hand over their Tutsi<br />

classmates <strong>to</strong> Hutu militias. The film was nominated<br />

as a REEL FRONTIER<br />

finalist for excellence<br />

and innovation in<br />

independent media<br />

arts expression.<br />

Zora entered <strong>HSA</strong> when she was four years old.<br />

“All the opportunities I could ever want were here.<br />

We studied with the finest teachers. We <strong>to</strong>ok<br />

special workshops at the Classical Theatre of<br />

Harlem. We ushered at plays around <strong>to</strong>wn and saw<br />

members of our own community–ac<strong>to</strong>rs of color–<br />

living our dream. We each acted in dozens and<br />

dozens of plays, pushing our boundaries. I once<br />

was the youngest person in the cast, playing the<br />

oldest person in the play. The school gave us the<br />

chance <strong>to</strong> really stretch ourselves.” And yet, Zora<br />

muses, “even more than the opportunities, what<br />

moved me was the sense of respect and<br />

reciprocity. We all appreciated and supported<br />

one another–teachers and students, students<br />

and students. We all learned from one another,<br />

in a great circle. The ac<strong>to</strong>rs from the Classical<br />

Theatre of Harlem came <strong>to</strong> teach us because they<br />

themselves had studied here. When the school<br />

was forced <strong>to</strong> close, alumni came forward <strong>to</strong><br />

help open it up again. This school invests in<br />

the current network of young artists; even more<br />

importantly, it creates a community that paves the<br />

way for those <strong>to</strong> come.”<br />

Willie E. Teacher<br />

“Creating great theater is a matter of speaking the<br />

truth,” says Willie E. Teacher–member of the <strong>HSA</strong><br />

Theater faculty; Brandeis graduate; accomplished<br />

ac<strong>to</strong>r with numerous television and film credits and<br />

with a great love of the stage. He has performed<br />

with a range of national theater companies,<br />

including the Colorado Shakespeare Festival and<br />

the Classical Theatre of Harlem.<br />

Alumna Zora Howard<br />

“It isn’t easy <strong>to</strong> pull truth out of ‘nothing’ – out of a<br />

bare stage. Your job as an ac<strong>to</strong>r, as a s<strong>to</strong>ry-teller, is<br />

<strong>to</strong> get your listeners <strong>to</strong> ‘suspend their disbelief’–<strong>to</strong><br />

enter another world. And <strong>to</strong> do that, you yourself<br />

have <strong>to</strong> believe in your s<strong>to</strong>ry, passionately and<br />

completely. One untrue moment can undo the<br />

whole process.”<br />

Of course, telling the truth also requires great<br />

technique, and Mr. Teacher makes sure that every<br />

student is equipped for the task. “They rehearse,<br />

explore and gain valuable <strong>to</strong>ols–learn <strong>to</strong> identify<br />

and pursue goals, <strong>to</strong> be free with movement on<br />

stage, <strong>to</strong> use their voice, <strong>to</strong> play. Only then can<br />

they begin tapping in<strong>to</strong> the passion that lifts us all<br />

up in<strong>to</strong> greatness.”<br />

Mr. Teacher knows that not every student will<br />

become a star. “But,” he explains, “the skills they<br />

gain at <strong>HSA</strong> will support them in whatever they<br />

do. They will draw on the poise, the presence, the<br />

voice of the theater <strong>to</strong> communicate and command<br />

attention–all their lives. If they find themselves<br />

in a position of power, what they learn here will<br />

enhance it. And if they ever find themselves without<br />

power, it will enable them <strong>to</strong> look straight at their<br />

audience, find their truth, and speak it.”

18<br />

Ana Ruiz-Castillo<br />

19<br />

Visual Arts<br />

<strong>HSA</strong>’s Visual Arts Department sparks creative<br />

expression, develops core techniques, and<br />

supports artistic literacy within a range of styles<br />

and periods. It develops young people’s mastery<br />

of different media–sculpture, paint, drawing,<br />

pho<strong>to</strong>graphy, ceramics, film-making, illustration,<br />

and computer-based art. It draws on the rich<br />

labora<strong>to</strong>ry of New York City’s museums and<br />

galleries <strong>to</strong> open students’ eyes <strong>to</strong> all that is<br />

possible–<strong>to</strong> broaden their tastes and<br />

perspectives and hone their critical skills.<br />

During FY10, Visual Arts students mounted<br />

Breakthrough–a comprehensive exhibition<br />

incorporating works from their Art Basics,<br />

Camera Antics, Children’s<br />

Drawing, Clay Sculpture,<br />

Computer Kids, Graphic<br />

Design, Illustration<br />

Concepts, Japanese<br />

Car<strong>to</strong>oning, and<br />

Printmaking classes. Visual Arts High School Prep<br />

and College Prep students showed individual<br />

works in a range of media. In addition, the<br />

Department hosted:<br />

• An exhibition by Visual Artist-in-Residence<br />

Patrick Singh called: Colos’soul: Diaspora<br />

Diaries of Patrick Singh, representing the<br />

largest collection of his works ever displayed in<br />

this country.<br />

• A retrospective collection of pho<strong>to</strong>grapher<br />

Hank Paper–Ascension: The Journey of John<br />

Coltrane–that documented that Jazz pioneer’s<br />

life, and was musically accompanied by <strong>HSA</strong><br />

faculty member and saxophonist JD Parran.<br />

• An exhibition by Visual Artist Elaine Defibaugh in<br />

which paint, thread, print, and textiles combined<br />

in richly-textured abstractions.<br />

“I tell my students that we are here on this planet<br />

<strong>to</strong> create,” explains Ana Ruiz-Castillo, Sculpture,<br />

Ceramics, and Drawing teacher in the <strong>HSA</strong> Visual<br />

Arts department. “I tell them <strong>to</strong> dig in<strong>to</strong> the clay and<br />

let their imaginations go. Children spend so much<br />

time being <strong>to</strong>ld what <strong>to</strong> do. Here they just have <strong>to</strong><br />

feel the clay. They let the clay instruct them. They<br />

let themselves play. They use their hands. It is a<br />

form of freedom, and what comes out is amazing.”<br />

Ms. Ruiz-Castillo was born in Spain and graduated<br />

from the Madrid School of Ceramics. She regularly<br />

shows her sculpture in galleries across New York.<br />

“But,” she says, “what I love best happens right<br />

here.” Her students “learn <strong>to</strong> s<strong>to</strong>p and really look<br />

at things–<strong>to</strong> see things in new ways. I show them<br />

the great masters–we look at Pablo Picasso’s<br />

Guernica–and suddenly they realize there are a<br />

hundred ways <strong>to</strong> draw a horse. And then they take<br />

off and make their own versions in clay.”<br />

Asked <strong>to</strong> share a few s<strong>to</strong>ries of her students, Ms.<br />

Ruiz-Castillo smiles gently and points <strong>to</strong> a s<strong>to</strong>ne<br />

sculpture–the smooth soft con<strong>to</strong>urs of a face<br />

emerging out of its rough, cold surface. She places<br />

a ceramic seal on the table, gracefully undulating<br />

under a glistening patina of turquoise glaze.<br />

”These are my s<strong>to</strong>ries,” she says.<br />

We look at Pablo Picasso’s<br />

Guernica and suddenly they<br />

realize there are a hundred<br />

ways <strong>to</strong> draw a horse.<br />

Malakye Wright<br />

Malakye Wright, a 14 year-old <strong>HSA</strong> student,<br />

has attended the School since he was four years<br />

old. He has immersed himself in every aspect of<br />

his discipline–art his<strong>to</strong>ry and ceramics, sculpting,<br />

wood prints, drawing and painting–and he has<br />

worked in a wide range of styles, from realist <strong>to</strong><br />

abstract.<br />

Sculpture by Malakye Wright<br />

“I like all the styles. I like all the mediums. I like<br />

all the arts activities,” he says. “Basically, I just<br />

like it here.”<br />

A young man of few words and mighty vision, his<br />

extraordinary work speaks for itself.

20<br />

Prep Program<br />

Foster Care Initiative<br />

21<br />

<strong>HSA</strong> offers a special program–<strong>HSA</strong> Prep–<strong>to</strong><br />

students who have the desire and the ability <strong>to</strong><br />

take part in a highly concentrated, structured, and<br />

demanding arts training experience. <strong>HSA</strong> Prep has<br />

two main goals: (1) <strong>to</strong> support robust and wellrounded<br />

artistic proficiency; and (2) <strong>to</strong> position<br />

students <strong>to</strong> enter secondary and post-secondary<br />

schools providing ongoing, high-quality training in<br />

the arts.<br />

<strong>HSA</strong> Prep has two divisions: High School Prep<br />

is for students in grades 6-8 and College Prep<br />

for students in grades 9-12. Regardless of when<br />

they enter, all Prep students must pass through<br />

an extremely selective audition<br />

process; and–once in the<br />

program–must follow a<br />

multi-course curriculum<br />

of mandated and elective<br />

classes. Prep students<br />

participate in ensembles and<br />

group shows that showcase<br />

the program and the School <strong>to</strong><br />

the wider world. They attend and<br />

critique performances and exhibitions<br />

around the city and learn about a range<br />

of arts-related career options. They work with<br />

faculty <strong>to</strong> create dynamic and persuasive portfolios<br />

and audition materials and <strong>to</strong> complete admissions<br />

and financial aid applications <strong>to</strong> the high schools<br />

and colleges in which they seek <strong>to</strong> study.<br />

In FY10–with generous support<br />

from the Surdna Foundation,<br />

the Educational Foundation of<br />

America, the Romare Bearden<br />

Foundation, and several other<br />

private philanthropies and<br />

individual donors–<strong>HSA</strong><br />

accepted 41 students<br />

in<strong>to</strong> the Prep program.<br />

All fulfilled their course requirements, mounted<br />

a range of stunning productions, and grew in<strong>to</strong><br />

polished performers and artists. Every 8th grader<br />

in the program was accepted in<strong>to</strong> a specialized<br />

high school–La Guardia High School, the<br />

Professional Children’s School, Talent Unlimited<br />

High School and Stuyvesant High School; one<br />

received a scholarship from the National Key<br />

Women’s Foundation <strong>to</strong> continue his studies<br />

at St. Ann’s School. Similarly, every graduating<br />

12th grader entered a <strong>to</strong>p-level college–SUNY<br />

Schenectady, Brown University, Montclair<br />

University, the University of Chicago, Whea<strong>to</strong>n<br />

College, and Brandeis University–with the financial<br />

assistance required <strong>to</strong> attend those colleges.<br />

One of <strong>HSA</strong>’s central goals is <strong>to</strong> provide<br />

children with the uniquely uplifting gift of art<br />

regardless of their particular economic or family<br />

situations. Last year–working in partnership<br />

with the Harlem Dowling foster care agency<br />

and generously supported by the Durst Family<br />

Foundation and Newman’s Own Foundation–<br />

we offered full scholarships <strong>to</strong> 26 children from<br />

the City’s child welfare system. Most of these<br />

children had never had the chance <strong>to</strong> explore<br />

their own artistic talents; <strong>to</strong> receive consistent<br />

attention and praise from caring adults; <strong>to</strong><br />

Participating foster parents explain the program’s impact:<br />

experience the unique sense of belonging that<br />

comes from collective creative enterprise.<br />

Each participating child enrolled in two classes–<br />

generally in two different disciplines–each<br />

semester. No one but the <strong>HSA</strong> Registrar knew<br />

which children were supported by this program;<br />

all were simply accepted as “part of the team.”<br />

Every child attended consistently–even those<br />

who traveled long distances from other boroughs;<br />

even one young man who was moved <strong>to</strong> a<br />

new foster home midway through the year.<br />

All year long, my children fuss and fuss about getting up<br />

for school. You have no idea! I think sometimes it’s hard for<br />

them just <strong>to</strong> face the day. But they were up and dressed and<br />

at the door every single Saturday, saying: ‘When can we go,<br />

Mami?’ They didn’t miss a single <strong>HSA</strong> class!<br />

My son rushed home <strong>to</strong> practice his violin, every day. So<br />

much joy, so much devotion. And how lovely it was <strong>to</strong> hear<br />

him! He would say: ‘Listen <strong>to</strong> me, listen <strong>to</strong> me, Mama!’ His<br />

teachers said he had a real gift. I say: ‘thank God for <strong>HSA</strong>!’<br />

My kids were so happy; it was all so perfect, it was all so…they felt<br />

so…how can I put it? So integrated. For the first time in their lives,<br />

they had something wonderful <strong>to</strong> be part of, something they could<br />

look forward <strong>to</strong> every week. I am so grateful.<br />

Dance Major Charisma Glasper

22<br />

Arts in Education Program<br />

23<br />

As budget cuts have forced New York City public<br />

schools <strong>to</strong> slash their arts programs, <strong>HSA</strong> has<br />

helped fill the void. We partner with schools across<br />

the Harlem community and the city, bringing our<br />

faculty on-site <strong>to</strong> their schools, or bringing their<br />

students <strong>to</strong> <strong>HSA</strong>.<br />

Funding for these efforts comes from special<br />

allocations from schools’ internal budgets, and<br />

private contributions. The extent and focus<br />

of programming in each school has been<br />

determined individually, based on available funds;<br />

on the interests of the students, teachers, and<br />

administration; and on overall school curriculum.<br />

In FY10, <strong>HSA</strong> worked in 11 public and charter<br />

schools and reached 750 students, grades<br />

Pre-K through 12. We offered visual arts courses,<br />

dance courses, and theater courses; we taught<br />

individual and ensemble music courses. In one<br />

school, the principal asked that we concentrate<br />

on ballet because of the strong particular interest<br />

at that school. In another, we worked closely<br />

with teachers <strong>to</strong> create a visual arts course<br />

specifically supporting their social studies<br />

program. Whatever the focus, our partnerships<br />

with these schools have added immeasurably<br />

<strong>to</strong> their curricula; they have stretched their<br />

students’ minds and supported their talents.<br />

A group of second and third graders from PS 46 say it best:<br />

There was a rhythm that was hard, but I tried it and got it<br />

perfect. We worked on a Funga and a Mambo! Everyone<br />

said we were great. It was just beautiful. Thanks, <strong>HSA</strong>!<br />

What I learned in Drama was ‘put your mind in<strong>to</strong><br />

what you do.’ I had a fabulous time with <strong>HSA</strong>!<br />

I never thought I could sing…but my<br />

chorus teacher, Mr. Als<strong>to</strong>n, always helped<br />

me. He always knew I could do better.<br />

My favorite class was art. I learned so many<br />

new things. I want <strong>to</strong> go <strong>to</strong> <strong>HSA</strong> forever!<br />

Camp<br />

It’s July. Step inside from the rising sidewalk<br />

heat <strong>to</strong> the cool blue comfort of <strong>HSA</strong>’s first floor<br />

Gathering Space. A line of pirouetting girls in pink<br />

tutus shoots across the floor en route <strong>to</strong> class.<br />

Seventeen teenagers practice a Rap song while<br />

dancing gracefully up and down the stage. A group<br />

of ten year-olds tacks a brightly painted mural on<br />

the wall. The waterfall garden is wall-<strong>to</strong>-wall tables<br />

with kids and counselors happily having lunch.<br />

A lone young man plays a slow jazz version of<br />

America the Beautiful on a grand piano.<br />

Welcome <strong>to</strong> camp time at the Harlem School<br />

of the Arts. As a visi<strong>to</strong>r, you may be blown away<br />

by all the various energy streams, but all the<br />

campers and counselors know they are in exactly<br />

the right place–paths criss-crossing swiftly and<br />

harmoniously, filling the space with laughter,<br />

chatter, movement, and music, all summer long.<br />

Launched in 2007 in response <strong>to</strong> community<br />

demand, <strong>HSA</strong>’s summer camp runs for six weeks<br />

from July through mid-August and serves preschoolers<br />

through 18 year-olds. In FY10 it served<br />

196 children; 13 of our counselors were <strong>HSA</strong><br />

alumni. All arts classes were taught by <strong>HSA</strong>’s<br />

renowned professional faculty. Campers <strong>to</strong>ok<br />

weekly field trips <strong>to</strong> some of New York City’s<br />

grandest resources–from artists’ studios and city<br />

museums <strong>to</strong> parks and theater productions.<br />

Next year–based on increased demand–we<br />

are considering extending the program for two<br />

additional weeks.<br />

Pho<strong>to</strong>: <strong>HSA</strong> campers invited by NY Liberty WNBA Team<br />

<strong>to</strong> sing at Madison Square Garden

25<br />

Our Families<br />

Every weekday afternoon, dozens of parents and<br />

grandparents and aunts and uncles and older<br />

siblings sit in our G-Space, waiting–and watching<br />

out–for our students. Every Saturday, they work in<br />

the reception area, welcoming those who enter; or<br />

in our Gift Shop, making sales; or in the cafeteria,<br />

serving food. When <strong>HSA</strong> needs help running a<br />

phone-a-thon, it is the parents who handle our<br />

phones. When our young dancers and ac<strong>to</strong>rs and<br />

musicians perform–and when our visual artists<br />

exhibit–it is family members who fill the audience<br />

with their loyal and enthusiastic support. It is<br />

this rich family presence that helps create the<br />

environment of caring and community that is the<br />

hallmark of our School.<br />

In April of 2010, when <strong>HSA</strong> was in the throes<br />

of crisis, our families provided us with direction<br />

and dynamic action. They organized rallies, they<br />

sent out press releases–they raised a clarion call<br />

<strong>to</strong> key community stakeholders <strong>to</strong> help pull us<br />

through. Their activism was a key component in our<br />

recovery, and our new Board now seats a parent<br />

representative.<br />

“All three of my children–Imani, Akilah and Iyanla–<br />

have gone <strong>to</strong> <strong>HSA</strong>,” recounts Sabrina Vassar<br />

who–<strong>to</strong>gether with her husband Robert–has<br />

given countless hours of volunteer time <strong>to</strong>wards<br />

supporting the School. “One of our children<br />

graduated, but two are still taking classes–one<br />

is a Prep student and the other is in<br />

the Children’s Dance Ensemble. <strong>HSA</strong><br />

is like a second home <strong>to</strong> us–a second<br />

family. The teachers really care about<br />

their students and they also reach out <strong>to</strong><br />

us parents; they include us in activities<br />

and make us feel part of everything that<br />

goes on. It is a safe place, a wonderful<br />

place. We try <strong>to</strong> give back in any<br />

way we can–because we love it.”<br />

act three<br />


26<br />

Our Donors<br />

27<br />

We are deeply grateful <strong>to</strong> each and every individual<br />

and philanthropic institution that s<strong>to</strong>od by us during<br />

a period that truly tested our collective resilience,<br />

by contributing energy, in-kind services, sound<br />

advice and gifts in any amount. Some made their<br />

first contributions–and many broadened their<br />

previous giving levels–just <strong>to</strong> ensure that <strong>HSA</strong><br />

would not fail. They have proven themselves <strong>to</strong> be<br />

far more than donors; they have been steadfast and<br />

vital partners in sustaining our School. Listed below<br />

are those whose gifts ranged from $500 and up,<br />

between July 1, 2009 and Oc<strong>to</strong>ber 8, 2010.<br />

The essence of all beautiful art, all great art, is gratitude.<br />

–Friedrich Nietzsche<br />

$500,000+<br />

The Herb Alpert Foundation<br />

$200,000–$499,999<br />

Open Society Foundations and the<br />

Fund for the City of New York<br />

The Starr Foundation<br />

$100,000–$199,999<br />

Bloomberg<br />

Carnegie Corporation of New York<br />

Goldman Sachs Gives<br />

New York State Council on the Arts<br />

Estate of Robert E. Short<br />

Surdna Foundation, Inc.<br />

Two Anonymous Donors<br />

$50,000-$99,999<br />

The Willliam Randolph Hearst Foundation<br />

Henry & Lucy Moses Fund, Inc.<br />

New York City Department of Cultural Affairs<br />

Janice Savin Williams & Chris<strong>to</strong>pher Williams/<br />

The Williams Capital Group, L.P.<br />

Upper Manhattan Empowerment<br />

Zone Development Corporation<br />

US Dept. of Education/Fund for the<br />

Improvement of Education<br />

$25,000–$49,999<br />

American Express Foundation<br />

DLA Piper US LLP<br />

Durst Family Foundation<br />

Marion Moore Foundation, Inc.<br />

New Horizon Foundation<br />

Estate of Gitta Perl<br />

$10,000–$24,999<br />

Cynthia H. & Paul Augustine<br />

Margaret A. Cargill Foundation<br />

Deutsche Bank Americas Foundation<br />

Educational Foundation of America, The<br />

Charles J. Hamil<strong>to</strong>n, Jr. & Pamela G. Carl<strong>to</strong>n<br />

Andrea Joyce & Harry Smith<br />

MacDonald-Peterson Foundation<br />

Scott Metzner<br />

Chris<strong>to</strong>pher C. Paci & Sally Rocker<br />

Scherman Foundation<br />

Katherine G. Farley & Jerry Speyer<br />

Bernard & Marjorie Sunshine<br />

Gregory Tyson & Christa Schneeclaus-Tyson<br />

$5,000–$9,999<br />

BlackRock Financial Management, Inc.<br />

Drucilla Cooper Memorial Fund<br />

Disney VoluntEARS Community Fund/EIF<br />

Ann & Gordon Getty Foundation<br />

Kyle Good<br />

The Happy Elephant Foundation<br />

Steven P. Henry<br />

Robert & Patricia Levinson Fund<br />

The Overbrook Foundation<br />

John & Nancy Palmer<br />

Luther M. Ragin Jr. & Deborah Fish Ragin<br />

Reginald Van Lee<br />

Weil, Gotshal & Manges LLP<br />

Laurence W. Wilson<br />

Y’all of New York, Inc.<br />

$1,000–$4,999<br />

Thomas G. Armstrong<br />

Atlantic Philanthropies, The<br />

Mil<strong>to</strong>n & Sally Avery Arts Foundation, Inc.<br />

Tom Bartunek & Ann Keene<br />

Romare Bearden Foundation<br />

The Mary Duke Biddle Foundation<br />

Ellen Blair/Sam & Ann Lopin Foundation<br />

Roxanne Brandt<br />

Adam & Janet Burke<br />

Drs. George and Mary Campbell<br />

J.T. (Ted) Childs, Jr.<br />

Yvonne Clarke<br />

Nina Cooke John, Studio Level LLC<br />

Corcoran Cares<br />

John W. Corwin<br />

The Debs Foundation<br />

The Lori & Mark Fife Foundation<br />

The Glickenhaus Foundation<br />

Michael & Anne Golden<br />

Melanie Gray<br />

Myrna & Stephen Greenberg<br />

Warren Habib<br />

Mil<strong>to</strong>n & Melody Irivn<br />

Curtis Katz<br />

Anna-Maria Kellen<br />

Donna & Jeffrey Laikind<br />

Reynold Levy<br />

John D. and Catherine T. MacArthur Foundation<br />

Margo Leavin Gallery, Los Angeles<br />

Robert & Camille McDuffie<br />

Henry McGee<br />

Mark & Mary Miller<br />

The Rona & Randolph M. Nelson Foundation<br />

New York City Transit Authority<br />

New York Smart Set<br />

Ann O’Hare<br />

Howard & Marcia Owens<br />

Owning A Dream LLC<br />

Shearman & Sterling LLP<br />

Edward & Genevieve Shorin<br />

Susan Silverman & Michael Braun<br />

Gregg Smith & Jerri DeVard<br />

Marcia Smith<br />

Lisa E. Solomon<br />

Jeffrey Spurgeon<br />

St. Cecile Scholarship Fund, Inc.<br />

Dhuane & Scott Stephens<br />

United Way of New York City<br />

Village Voice LLC<br />

Garrett & Melinda Walls<br />

George Wein<br />

Nina & Theodore Wells<br />

William Matheus Sullivan Musical Foundation, Inc.<br />

Barry & Karen Wolf<br />

Wolfensohn Family Foundation<br />

$500–$999<br />

Ernest & Kathleen Abrahamson<br />

Clif<strong>to</strong>n & Dolores Bullard<br />

Irving Burgie<br />

Yvette Degannes<br />

Gilles Depardon & Kathryn Ogawa<br />

Caroline Doll<br />

Dennis Duffy<br />

Helen J. Ellis<br />

Andrew Gordon<br />

Patricia E. Gottier & Bruce Kauffman<br />

Algernon Grant<br />

Laura Grant<br />

Dana L. Hamil<strong>to</strong>n<br />

Dr. Chris<strong>to</strong>pher A. Johnson<br />

Penelope D. Johns<strong>to</strong>n<br />

Marcie & Artie Kempner<br />

Kiwi Partners Inc.<br />

Marc & Dinah Kramer<br />

Ann Kraus<br />

Alfred Larkin & Wendy Fox<br />

Stephen Mazoh<br />

John Morris & Marcia San<strong>to</strong>ni<br />

Katharine B. Mountcastle<br />

The National Flute Association, Inc.<br />

Eileen Shields<br />

Arthur O. Sulzberger<br />

TD Bank<br />

Michelle Willens & David Corvo<br />

Diane Wohl<br />

Mary C. Wolf<br />

The Zankel Fund<br />

Susan Zirinsky & Joe Peyronnin

28<br />

Our Faculty<br />

Our Staff<br />

29<br />

The pages of this report shine a special spotlight<br />

on the role that <strong>HSA</strong>’s teaching artists play in<br />

fulfilling the mission of the School. Last year,<br />

each one made a major difference in the lives<br />

of dozens of students. This coming year–joined<br />

and supported by eight Goldman Fellows from<br />

The Juilliard School, generously funded by the<br />

Goldman Sachs Foundation–they will continue<br />

providing the intense, nurturing, rigorous instruction<br />

that makes <strong>HSA</strong> the extraordinary place that it<br />

is. We salute these dedicated professionals–<br />

and we cannot ever thank them enough.<br />

<strong>HSA</strong>’s staff members are the lifeblood of the<br />

community. They run up and down our staircases<br />

dozens of times a day, keeping our beautiful<br />

building safe, clean, and operational; They<br />

work with our funders; design and hang our<br />

banners; register and keep in <strong>to</strong>uch with our<br />

families; manage our finances, and collect our<br />

tuition payments; keep our records; handle our<br />

human resource issues; plan and supervise our<br />

programs; and comfort our younger students<br />

when their parents are late <strong>to</strong> pick them up...<br />

DANCE<br />

MUSIC<br />

Malik Coleman–Hip Hop I & II<br />

Yvonne Curry–Tap<br />

Charlotte Johnson–Ballet I, II, & III<br />

Keith Lewis–Modern III, Hip Hop<br />

Keisa Parrish–Dance 1A, Modern II, Jazz<br />

Fred Als<strong>to</strong>n–Music Theory, Chorus<br />

Eli Asher–Music Theory, World of Music<br />

James Bar<strong>to</strong>w–Guitar<br />

Rudy Bird–Percussion<br />

Lucia Bradford-Wiggins–Voice<br />

David Burnett–Violin<br />

Janinah Burnett–Voice<br />

Judith Dansker–Musical Explorations, Recorder, Oboe<br />

Robert Dellureficio–Guitar<br />

Donald Ea<strong>to</strong>n–Percussion<br />

Fima Farberg, Piano<br />

Kaori Fujii–Flute<br />

Lauri Galbreath–World of Music, Beginning Piano<br />

Charles Jones–Piano<br />

Sean Kelly–Percussion<br />

Rose Quinones–Salsa<br />

Cynthia Shipley–Dance 1A, Ballet I, II & II<br />

Daaimah Talib-Din–African I, II & III<br />

Joseph Webb–Advanced Tap<br />

Hattie Mae Williams–Modern I & I A, CDE<br />

Tsyala Khudad-Zade–Piano<br />

Katy Luo–Piano Accompanist<br />

David Miller–Woodwinds<br />

Steven Oquendo–Trumpet, Jazz Band<br />

JD Parran–Clarinet, Saxophone<br />

Marcus Persiani–Piano<br />

Bernard Phillips–Flute, Music Theory<br />

Amali Premawardhana–Cello<br />

Olga Rosales–Piano<br />

La-Rose Saxon–Voice<br />

Sonelius Smith–Piano<br />

Beverly Somach–Violin<br />

Elektra Stewart–Violin<br />

Yuki Tei–Clarinet, Saxophone<br />

Simon Walsh–Electric, Bass<br />

Our FY11 Staff Includes:<br />

Oamien Agans-Oliha , IT Direc<strong>to</strong>r<br />

Yedidiah Barker, HR Associate/Payroll Coordina<strong>to</strong>r<br />

LaToya Bethea, Development Coordina<strong>to</strong>r<br />

Jaison Coles, Music Program Associate<br />

John W. Corwin, Interim Executive Direc<strong>to</strong>r<br />

Cherrye J. Davis, Theater Program Associate<br />

Melanie Dyer, Development Direc<strong>to</strong>r<br />

Kenrick Garrick, Cus<strong>to</strong>dian/Maintenance<br />

Algernon Grant, Senior Security Officer<br />

Melody Gross, Communications & Marketing Associate<br />

Sidney Jackson, Individual <strong>Giving</strong> Manager<br />

Harold James, Cus<strong>to</strong>dian/Maintenance<br />

Gyorgy Madarasz, IT Technician<br />

Janice Mayer, Interim Communications & Marketing Direc<strong>to</strong>r<br />

Byron McCray, Visual Arts Program Associate,<br />

Corporate & Community Partnerships<br />

Iessa J. Mitchell-Sut<strong>to</strong>n, Arts in Education Direc<strong>to</strong>r,<br />

<strong>HSA</strong> Prep Program Direc<strong>to</strong>r<br />

Kaitland O’Bryan, Graphic Designer<br />

Bremilde Ramos, Administrative Assistant<br />

Renee Rijos, Bursar<br />

Llewelyn Smith, Cus<strong>to</strong>dian/Maintenance<br />

Niki Spruill, Dance Program Associate<br />

Patrice Turner, Registrar<br />

Wayne W. Williams, Facilities Direc<strong>to</strong>r<br />

Ann Yarde, Security Officer<br />


Fred Als<strong>to</strong>n–Voice and Speech<br />

Judy Bowman–Acting for the Camera<br />

Magaly Colimon-Chris<strong>to</strong>pher–Acting for Beginner II,<br />

Bridge Ensemble, Teen Acting<br />

Cherrye J. Davis–Acting for the Beginner I<br />

Charles E. Gerber–Intro <strong>to</strong> Shakespeare<br />

Deborah Kym–Advanced Musical Theater<br />

Darrin Person–Acting III<br />

Crystal Price–Theater Adventures<br />

Willie Teacher–Acting for the Beginner III, Stage Combat,<br />

Apprentice Ensemble, Advanced Teen Ensemble,<br />

Monologue & Scene Study, Ac<strong>to</strong>r’s Gym<br />

Sam Willmott–Musical Theater<br />


Joshua Alafia–Film<br />

Debby Albenda–Computer Kids<br />

Ana Ruiz-Castillo–Children’s Drawing, Clay Studio<br />

Kate Eschelbach–Drawing & Painting for Teens<br />

Hosea Johnson–Camera Antics<br />

Ray Jones–Manga Mania<br />

Yashua Klos–Printmaking<br />

Catherine Lawrence–College Prep Art His<strong>to</strong>ry<br />

Gyorgy Madarasz–Advanced Pho<strong>to</strong>graphy<br />

Ghislaine Sabiti–Painting on Fabrics<br />

Begonia Santa Cecilia–Art Basics<br />

Alexandria Smith–Illustration Concepts<br />

Shanon Weltman–Digital Design & Computer Arts<br />

ARTS IN ED<br />

Aakhu Ali<br />

Rudy Bird<br />

Lucia Bradford<br />

Kim Brown<br />

Ana Ruiz-Castillo<br />

Donald Ea<strong>to</strong>n<br />

Kate Eschelbach<br />

Elan Ferguson<br />

Rober<strong>to</strong> Gandara<br />

Nicholas Rispoli<br />

Major Scurlock

30<br />

Our Alumni<br />

Our Village<br />

31<br />

Reading through the roster of <strong>HSA</strong>’s alumni can<br />

leave one star-struck. There are renowned opera<br />

singers, Tony-award winning stage performers,<br />

leads in Broadway musicals and well-known<br />

television and movie ac<strong>to</strong>rs; there are heads of<br />

museums, executive direc<strong>to</strong>rs of arts organizations,<br />

and vice presidents of major corporations. There<br />

are world-traveled Jazz musicians and members of<br />

<strong>to</strong>p national dance companies.<br />

What is, perhaps, less immediately evident is<br />

that the roster is also filled with individuals who<br />

consider <strong>HSA</strong> <strong>to</strong> be their “first and most influential<br />

community;” the “place that launched” them; the<br />

“place in which they made their closest friends”–<br />

individuals who return <strong>to</strong> the School as teaching<br />

artists and men<strong>to</strong>rs, performers, and supporters.<br />

With Fred Darden as our new Alumni Association<br />

President, <strong>HSA</strong> will be taking strategic steps <strong>to</strong><br />

build on the love that so many feel for this School.<br />

Board and staff are reaching out <strong>to</strong> all the names<br />

in our database <strong>to</strong> form an Alumni Association<br />

through which recent and past graduates can<br />

create new channels for sharing experiences<br />

and memories, inspiring and motivating current<br />

students, and celebrating the School.<br />

<strong>HSA</strong> is the place in which the entire Schoolbased<br />

community comes <strong>to</strong>gether in times of<br />

celebration and mutual support. This year, when<br />

one of our students faced a costly and dangerous<br />

bone marrow illness, <strong>HSA</strong> organized a rally <strong>to</strong><br />

sign up potential marrow donors; it then held<br />

a benefit <strong>to</strong> raise money <strong>to</strong>wards her ongoing<br />

care. When one of our recent graduates needed<br />

funds <strong>to</strong> attend a semester at the renowned<br />

London Contemporary Dance School, we hosted<br />

a performance <strong>to</strong> help her generate those funds.<br />

She <strong>to</strong>ok off for England in September and since<br />

then we’ve heard nothing but wonderful reports.<br />

And when one of our own staff members passed<br />

away, it was here at <strong>HSA</strong> that those who loved her<br />

gathered <strong>to</strong> honor her life.<br />

<strong>HSA</strong> is also a vital hub for the greater Harlem<br />

community–and beyond. In FY10, dozens of<br />

individuals and civic and non-profit groups<br />

rented our Gathering Space and our garden<br />

courtyard. A range of arts organizations and<br />

schools used our studios for their classes and<br />

rehearsals. Five major performance groups–Frank<br />

Silvera’s Writer’s Workshop; The Electric<br />

Company; the Classical Theatre of Harlem;<br />

the H.A.D.L.E.Y. Players; and the EPIC Theatre<br />

Ensemble–rented the Gathering Space or the<br />

<strong>HSA</strong> Theater for their productions. And one of<br />

Harlem’s most stellar cultural institutions–the Bill<br />

T. Jones Dance Company–visited the School<br />

<strong>to</strong> offer master classes <strong>to</strong> our students.<br />

Indira Mahajan<br />

Indira Mahajan–acclaimed soprano; winner of<br />

the prestigious Marian Anderson Award; premier<br />

interpreter of some of opera’s greatest roles (Bess<br />

in Porgy and Bess, both Mimi and Musetta in La<br />

Boheme; Cio-Cio San in Madama Butterfly)–<br />

began her artistic ascent as a member of <strong>HSA</strong>’s<br />

first College Prep cohort, in 1984.<br />

“As a student in the College Prep program, I<br />

studied it all–voice, piano, and language skills; ear<br />

training, theory, and basic audition techniques. I<br />

had the privilege of studying once a month with the<br />

great Betty Allen. You couldn’t keep me away,”<br />

she recalls.<br />

Miss Mahajan graduated from Prep <strong>to</strong> attend the<br />

Oberlin Conserva<strong>to</strong>ry, but her connections <strong>to</strong> <strong>HSA</strong><br />

didn’t end upon graduation. During her graduate<br />

study at Mannes College of Music, she continued<br />

<strong>to</strong> participate in Betty Allen’s weekly Master Voice<br />

Class where she was selected <strong>to</strong> be an <strong>HSA</strong><br />

Master Voice Fellow receiving a two-year study<br />

grant from the Sally Van Lier Foundation. “Voice<br />

lessons, coaching, dance lessons, private Italian<br />

lessons–you need resources and support in order<br />

<strong>to</strong> continue <strong>to</strong> develop as an artist,” explains Miss<br />

Mahajan. “The grant covered those lessons; and<br />

the ongoing encouragement that I received from<br />

<strong>HSA</strong> gave me the advantage that I needed.”<br />

Twenty-four years later–between performances<br />

at Carnegie Hall, and Royal Albert Hall, and<br />

the Kennedy Center, and opera houses across<br />

Europe–Indira still stays in <strong>to</strong>uch with many of<br />

her old Prep classmates. “<strong>HSA</strong> was pivotal in my<br />

musical development,” she explains. “My fellow<br />

students were my first role models and supporters.<br />

That’s a lifelong bond.”

Report from the Treasurer<br />

33<br />

As this Annual Report goes <strong>to</strong> press, the Harlem<br />

School of the Arts is in the process of a remarkable<br />

and welcome revitalization process, following a<br />

three-week closing in April, 2010.<br />

After having served on the Board from 1985 <strong>to</strong><br />

1995, I was asked <strong>to</strong> return as Treasurer when<br />

the School reopened in the spring of 2010. I am<br />

pleased <strong>to</strong> report that our financial footing has<br />

been improving in a number of respects:<br />

• We have received more philanthropic support<br />

during the past several months than during the<br />

comparable period last year. Much of that<br />

support is from new donors.<br />

• Our financial transaction and reporting systems<br />

have been strengthened, enabling the Board and<br />

management <strong>to</strong> act based on up-<strong>to</strong>-date monthly<br />

status reports.<br />

• Our boldest-ever individual donor fundraising<br />

campaign, One Hundred Days One Million<br />

Dollars, is well underway.<br />

• With the refurbishment of the building just<br />

completed, we are expanding our pursuit of<br />

rental income and our public programming.<br />

• Our Board of Direc<strong>to</strong>rs continues <strong>to</strong> expand,<br />

bringing both new direct sources of financial<br />

support and new avenues <strong>to</strong> introduce many<br />

more individuals and companies <strong>to</strong> <strong>HSA</strong>.<br />

• The Strategic Planning process is leading us<br />

<strong>to</strong>wards a sustainable business model, and<br />

has bolstered the School’s credibility in the<br />

philanthropic and governmental communities.<br />

Because <strong>HSA</strong>’s mission is <strong>to</strong> be affordable <strong>to</strong> the<br />

students we serve, our tuition is well below market<br />

rates. Yet it costs on average $5,000 <strong>to</strong> educate<br />

each student throughout the academic year. Thus,<br />

only 16% of that expense is covered by tuition.<br />

Your support is what makes it possible for <strong>HSA</strong> <strong>to</strong><br />

teach children of all ages <strong>to</strong> become proficient in<br />

dance, music, theater, and visual arts.<br />

The audit for FY 2010 is underway, and our most<br />

recent audited financial reports are available<br />

upon request. We look forward <strong>to</strong> continuing <strong>to</strong><br />

communicate with all of our constituents about<br />

our progress, with frequency and transparency.<br />

Mil<strong>to</strong>n Irvin<br />

a. Expenses<br />

b. Revenue<br />

11%<br />

19%<br />

18%<br />

71%<br />

31%<br />

50%<br />

act four<br />

sustainability<br />

Programmatic<br />

Administration<br />

Fundraising<br />

Foundation, Corporate, Individual Contributions<br />

Earned Revenue (tuition, rentals, tickets)<br />

Government Grants, Arts Education Contracts

35<br />

Letter from the Interim Executive Direc<strong>to</strong>r<br />

Dear Friends,<br />

When I first came on board as <strong>HSA</strong>’s Interim<br />

Executive Direc<strong>to</strong>r, in January 2010, I quickly<br />

realized that this was one of those rare spots on<br />

earth in which mission, physical environment, and<br />

constituents are all vividly present and aligned. I<br />

was immediately struck by three things:<br />

The children. The excitement in their eyes–their<br />

<strong>to</strong>tal concentration, their confidence, their glee!<br />

How often does one have the chance <strong>to</strong> work in<br />

the midst of–<strong>to</strong> be constantly motivated by–so<br />

much talent and determination and dazzling joy?<br />

The building. Everything at <strong>HSA</strong> is tailor-made<br />

<strong>to</strong> support both community and art–from the<br />

welcoming Gathering Space <strong>to</strong> the magnificent<br />

facilities available for each of the four artistic<br />

disciplines. There is inspiration and opportunity<br />

everywhere: paintings on all the walls, music<br />

behind every door–even a baby grand piano in<br />

my office!<br />

The people who work here. Faculty and staff<br />

convey their deep dedication and loyalty in<br />

everything they do. They pitch in wherever needed<br />

and they support our students in every way they<br />

can. They, <strong>to</strong>o, are a constant inspiration.<br />

Last April, when <strong>HSA</strong> was poised on the verge<br />

of closing its doors forever, a spectrum of<br />

supporters–from the Mayor of New York City <strong>to</strong> the<br />

parents of our youngest student–came forward <strong>to</strong><br />

help avert that catastrophe. Their swift and united<br />

action offered clear proof of the School’s<br />

irreplaceable role: of its critical importance <strong>to</strong> our<br />

children, <strong>to</strong> the Harlem community, and <strong>to</strong> a city<br />

renowned for artistic achievement.<br />

In the months following that crisis, <strong>HSA</strong> has<br />

traveled an enormous distance, galvanizing the<br />

elements required for full recovery and bold<br />

forward action. It has brought on an impressive<br />

new Board, completely overhauled its financial<br />

system, and drafted an astute and far-seeing<br />

strategic plan. It has re-pledged itself <strong>to</strong> sustaining<br />

its dynamic programs, its sky-high artistic<br />

standards, and its reputation as both a safe and<br />

trusted refuge and a place of boundless and<br />

electric possibility.<br />

As this Annual Report goes <strong>to</strong> press, the Board is<br />

well along in its search for the long-term Executive<br />

Direc<strong>to</strong>r who will have the privilege of leading<br />

the School in<strong>to</strong> a robust, sustainable future. Like<br />

everyone fortunate enough <strong>to</strong> have spent time here,<br />

I have been profoundly moved by the experience,<br />

and am proud <strong>to</strong> have been part of the team that<br />

has put the School back on track. I will always<br />

keep in <strong>to</strong>uch and look forward <strong>to</strong> following the<br />

<strong>HSA</strong> success s<strong>to</strong>ry as it continues <strong>to</strong> unfold.<br />

John W. Corwin

The Harlem School of the Arts<br />

645 Saint Nicholas Avenue @ 141 st St.<br />

New York, New York 10030<br />

Tel: 212.926.4100<br />

Fax: 212.491.6913<br />

On the Web<br />

www.harlemschoolofthearts.org<br />

By Subway or Bus<br />

A, C, B, D <strong>to</strong> 145 th Street<br />

M3 <strong>to</strong> 141 st Street<br />

act five<br />

contact us<br />

Produced by The Harlem School of the Arts<br />

Text: Susan Leicher<br />

Interior Pho<strong>to</strong>graphy: Kaitland O’Bryan, Siyaka Taylor Lewis<br />

Graphic Design: Kaitland O’Bryan

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