Adriana Ray (’17)

Adriana J. Ray, in her role as Sr. Development Director at The International Association of Blacks in Dance (IABD), passionately advocates for the richness of African Diaspora dance. She takes the lead in shaping the organization’s fundraising strategy, actively pursuing support from partners aligned with their mission, spanning institutions, government, corporations, and individuals throughout the nation.

To begin, could you start by giving us a quick overview of your background and how that background influenced your decision to enroll in Boston University’s Arts Administration program?

I grew up dancing. In high school, I volunteered with the local tap dance festival, fueled by my interest in understanding the inner workings of such an event. I ended up assisting the director and producer, who was also my teacher, with logistics, coordination, and artist services, and continued to do so even into college.

During my time in college, I continued my training, auditioned, and was accepted into a professional tap dance company. While in the company, the artistic director fell ill and had to take a leave of absence. As company members, we all took on additional roles and responsibilities. I ended up taking over some of the teaching and once again became involved in planning for that company’s tap festival.

I always thought I would perform full-time for much longer than I did. But eventually I began to wonder, ‘What’s next?’ After exploring a few other pathways, I considered going back to school. When I looked through how the program was aligned by making it easy for working professionals like me to easily work while studying part-time, and how many arts organizations per capita were in Boston, I applied and ended up at BU. What really intrigued me about BU’s Arts Administration program was the requirement of an international trip.

Can you share a particularly memorable or transformative experience from your studies at Boston University’s arts administration program that still influences your work today?

The MET AR 711 Capital Campaigns class was my favorite course. I really valued the professor’s approach to not just looking at all the things that go right, but to also look at all the things that go wrong. Especially related to fundraising, compliance, ethical considerations. We got to be super sleuths, trying to figure out what we could from the information that was presented. I also liked that we had to design our own strategies. It was a fun and informative course.

Tell us about a specific project or achievement during your time at The International Association of Blacks in Dance that you take pride in and describe how it has impacted your professional journey.

As part of my position, I have been involved in the management of a program called the Comprehensive Organizational Health Initiative | Managing Organizational Vitality and Endurance (COHI | MOVE) that focuses on building capacity and infrastructure for Black dance companies. IABD partners with The Non Profit Finance Fund to provide financial coaching, industry-specific learning sessions, and customized consulting. A really important facet of the program, especially during the pandemic, was that each of the dance companies received general operating support as part of their participation.

I joined IABD in January 2020, towards the end of the first round of COHI | MOVE and just in time to strategize adjustments for the second round (including more funding!). The companies learn from each other as much as they learn from the program itself, in turn strengthening the Black dance ecosystem as a whole. Watching the program impact unfold has been remarkable and an incredible honor.

Could you identify any prevalent misconceptions or myths about development work that could potentially unsettle newcomers. Have any courses within the program played a role in preparing you to handle unexpected challenges in development work?

I don’t know that this is a myth or misconception, but it relates to the sting when a well-crafted and comprehensive grant proposal ends up not being funded. Despite meeting the criteria and being values-aligned, the fact is that there are almost always more programs than there is available funding. It is easy to take that personally when in reality, there are often limiting factors that we may never be privy to. Understanding this disconnect is crucial for resilience in the face of setbacks.

As for courses in the program that have had an unanticipated impact on my current role, The MET AR 789 Creative Startups: From Idea to Impact class stands out for emphasizing the importance of an elevator pitch — being concise yet strategic. This approach has influenced how I collaborate with the Programs department at IABD when forming and describing projects, and how I in turn pitch them to potential donors, funders, and partners. More and more funders are recognizing the administrative burdens of long proposals. Streamlining language and ensuring a succinct yet impactful presentation to secure support is critical.

Building on your experience as Sr. Development Director at The International Association of Black Dance, could you elaborate on any particular challenges or issues you’ve faced within the organization that might have broader implications for the art world as a whole?

Development work isn’t always glamorous, especially when addressing the challenges faced by the under-resourced and historically unfunded landscape of the Black dance sector. Despite recent growth in our staff, we still operate as a small organization, wearing multiple hats. Gathering information is a significant challenge, especially during crucial times like our annual conference, where a small team is stretched thin.

We’re starting to see a shift toward a more trust-based approach to reporting in philanthropy. Some funders have de-emphasized their reporting requirements and instead want to hear about lessons learned. This shift is welcomed, as it eases the administrative burden not just on me but on the entire team.

How do you envision that we, as arts administrators, can effectively address these challenges to strengthen the arts industry?

We have to be honest and acknowledge our workflow, challenges, needs, and capacity. Gone are the days of attempting to execute a program designed at 100% when we only receive 40 or 50% of the funding required to do so. Continuously pushing ourselves in this manner leads to burnout, hindering our ability to effectively serve our communities.

The evolving landscape of our field- including more founders retiring and shorter job tenures- necessitates a realistic approach to workflow management. Despite budget constraints or staff changes, the impulse to do it all persists. It is essential to pause and align our expectations with the reality of our resources if we want to see career longevity.

Can you provide examples of how your experience as a performer and dance educator has inspired creative methods in your efforts to develop and raise funds for the arts?

My arts background directly benefits my role. I can provide insight into current developments and articulate the experiences of our artist community because I am actively engaged in it. As someone who still identifies as an artist, I can shed light on how artists are working, ongoing challenges they are facing in getting their work to audiences, and important conversations happening within the community.

Artists, by nature, embody creativity, innovation, and rigor. They consistently question, push boundaries, and embrace the idea that there are multiple valid approaches to achieving their goals. Once the choreography is set, dancers diligently refine the movement through continuous practice, focus, and perseverance. These qualities directly correlate to how I approach my fundraising work now.

Imagine you are tasked with hiring a young student for an internship in arts administration. What qualities and attributes would you prioritize in a candidate to ensure they can contribute effectively to your organization’s mission and goals?

Absolutely. We actively recruit interns, so this is not a hypothetical scenario. I value interns or students who can express themselves clearly, have thoroughly reviewed the requirements, and demonstrate an ability to inquire about any uncertainties.

There are a few qualities I prioritize when hiring an intern to ensure effective contributions to our organization’s missions and goals:

IABD seeks individuals who are willing to push boundaries and not shy away from expressing their beliefs. This trait is reflected in students who are unafraid to articulate their thoughts.

Detail-oriented candidates are also a priority. Whether they aim to acquire practical skills or are exploring the role as a potential fit, clarity on their goals allows us to tailor their  internship experience accordingly.

Above all, we are looking for candidates who have taken time to learn about our organization and want to deepen their understanding of the Black dance ecosystem. This mindset is crucial for them to excel in their roles and contribute meaningfully to our organization.

As a seasoned professional, what pearls of wisdom or guidance can you offer to recent graduates who are about to embark on their job search journey, bearing in mind the distinctive challenges they might face today?

I wouldn’t exactly label myself as seasoned at this point. But, in Lauren O’Neal’s MET AR 802 / MET AR 803 internship class, her advice really resonated with me and continues to do so. She emphasized the importance of not hesitating to apply for a job or express interest in a position, even if you don’t meet all the listed requirements.

Her words stuck with me, and I have found them to be true. If you have a strong inclination, pursue it. Personally, I never envisioned stepping into a director-level role so swiftly, but by consistently putting myself out there and leveraging my network, I discovered that opportunities aligned unexpectedly. It is a reminder that taking chances and being proactive can lead to surprising outcomes in your professional journey.

Interview conducted by Arthur W. Stockham