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Membership Manager

Festival of Arts/Pageant of the Masters We make art come to life! The Festival of Arts is home to both the Pageant of the Masters, one of the most unique productions in the world where famous works of arts are recreated and the Festival Art Show which features the work of over 100 Orange County … Read more

Senior Director of Marketing

The historic nonprofit Carolina Theatre of Durham is seeking our next rockstar Senior Director of Marketing! We strongly value a diversity of people and experiences, and encourage candidates from all backgrounds to apply. The Carolina Theatre of Durham, Inc. is a 501(c)(3) non-profit organization which manages the City-owned historic Carolina Theatre complex including the 1,100-seat historic Fletcher Hall and two cinemas which screen independent film, as well as festivals and retrospectives, 365 days per year and up to 3,500 screenings per year. The organization presents more than 90 Star Series performances per year in Fletcher Hall and provides more than 35 educational performances for more than 15,000 school children from 12 counties in our Arts Discovery Education series. Fletcher Hall is also home to several performing arts resident companies and hosts a variety of non-profit and commercial community events throughout the year. The theater supports a number of events designed to ensure the whole community can experience arts programming, including free offerings such as sensory-friendly and family programs. As a City-owned, nonprofit-run facility, we believe that our entire community should be welcomed and celebrated here. We are committed to approaching all our work, programs, and policies focused on ensuring that all voices are heard and valued and that each is respected and included. Our staff, volunteers, vendors, partners, and guests come from every imaginable walk of life. Diversity, equity and access for all are the focus we also expect from all with whom we work, contract, or partner. Our programs are supported by a marketing department currently made up of three staff members, an outside graphic designer and a web developer. Most of the Star Series events are primarily marketed by our promoter partner, National Shows 2, which takes the marketing lead on the many of our live events, with our marketing department taking on certain local marketing tasks. Our marketing team is also responsible for institutional branding and messaging, and public relations. A strong and growing development department, currently of two people, is also supported by the marketing team for collateral and marketing of fundraising events, sponsorships, member events and appeals. These two departments work in tandem to ensure the theater’s revenue stream remains strong, meeting regularly to coordinate marketing communications, content, and strategy for development initiatives. As the theater nears its 100th anniversary in 2026, marketing will have additional responsibilities for Centennial Events and institutional messaging to help the theater pave the way for the next 100 years. Core Duties: The Senior Director of Marketing is responsible for developing a marketing and sales plan that achieves our revenue goals from ticket sales, sponsorships, memberships and other revenue streams that benefit from marketing and public relations. This person will also work closely with our Development, Membership, Education, Film, and Programming departments to ensure audiences know about, and support, all that the Carolina Theatre brings to the community. They will also work collaboratively on efforts to ensure the Carolina Theatre is recognized for its impact on the community at the local, state, and national levels. They are responsible for ensuring that our outreach efforts achieve our goals of diversity and access for all. The Senior Director of Marketing manages a multi-function team responsible for brand, digital marketing, email marketing, social media, public relations, print materials, and box office sales numbers. They are responsible for expanding, promoting, and protecting the brand in all forms of media, particularly those that reach and engage the Theater’s most enthusiastic and influential supporters. The person in this position needs an intuitive instinct for the right marketing angle for each of our diverse programming, and for determining the audience for each event. The right language, visuals, audience development techniques, and target marketing approaches will be essential. ESSENTIAL FUNCTIONS AND RESPONSIBILITIES: · Commitment to consistently view and evaluate all work, programs and policies through an anti-racist, equity, and access lens. · Coordinate and execute communications and messaging for the organization’s nonprofit mission and related activities, including developing comprehensive marketing plans, media buying, copywriting, maintaining/updating web site, conceiving and managing production of printed collateral, and utilizing email marketing and social media. Identify new ways to increase the visibility and reach of the organization. · Conceive, pursue, secure, and manage relationships with corporate and other community partnerships for in-kind support or special outreach projects with other entities, to achieve financial and mission-driven goals. · Manage a marketing staff consisting of a Marketing Associate, Marketing Assistant/Social Media Manager, and a contract graphic artist. · Lead the team in collaborating, brainstorming and devising strategies for all events, marketing, and PR initiatives and create a content or marketing deadline calendar. · Collaborate with external booking partner to obtain collateral and schedule newsletters, social media, and provide creative insights/opportunities for grassroots tactics, partnerships and local tactics. · Manage public relations to promote theater activities and initiatives in the media or collaborate with external partner to do so. Help coordinate direct requests for media appearances/interviews. · Attend select events regularly across the organization to ensure an understanding of the products being marketed. These events will frequently occur on weeknights or weekends. · Collaborate on Carolina Theatre special events, such as the annual fundraising gala, member events, free open houses and/or tours, and other community-minded events. This position is expected to participate fully in these events, which can occur on weeknights or weekends. · Collaborate on major donor relations and major donor prospect development. · Develop and foster relationships and partnerships with local and state tourism and marketing organizations, fine arts/cultural organizations, and other industry affiliates to strengthen the theater’s regional and national profile. · Develop, monitor, and maximize annual budgets for relevant marketing and partnerships. · Attend Community Engagement committee meetings and board/other committee/ad hoc meetings as requested. · Collaborate and maintain effective working relationships with board members, theater staff (especially the Development Department), and with other external stakeholders as needed. · Collaborate with the Director of Live Events, the Director of Education and Community Engagement, and the Director of Film to develop and implement effective marketing strategies for their respective programs. · Coordinate with Box Office Management on announcing all events/on-sales on the website and social media posts as well as on marketing ticketing requests. · Stay connected to peers and industry standards by attending conferences and regional meetings. Support the sale and renewal of memberships. Support the education department sell paid educational programs and camps. · Manage and execute digital communications campaigns and promote the use of new technologies to increase efficiencies and amplify communication efforts. · Manage and drive direction for the website and all social media channels. · Build and supervise Public Relation strategies. · Conduct regular audits of the Carolina Theatre’s customer data and email segmentations lists. · Support fundraising by successfully promoting events, campaigns, and membership programs. · Listen, communicate, and handle diplomacy with internal and external customers, vendors and staff in all situations. · Track the progress of marketing strategies and ticket sales through data analytics and provide regular sales reports to the CEO and at regular Senior Staff meetings. · Analyze market trends and economic factors that impact the Carolina Theatre. · Identify through market research opportunities for new audiences and growth of existing guests. · Evaluate our current patrons’ experience and articulate touch point opportunities to enhance their satisfaction and connection. · Other duties as assigned to contribute to a small, hardworking, and dedicated team. EDUCATION/EXPERIENCE: Minimum of five years of successful and progressively responsible employment in event marketing, advertising, or related field. Established relationships in local market is a plus. Work in arts, entertainment, and one-off shows (versus season sales) is strongly preferred. QUALIFICATIONS: This position requires strong attention to detail and superb organizational and customer service skills. It is a team building and leadership position and needs someone with effective partnership building skills and clear written and verbal communication. · Proven experience incorporating an anti-racist, equity, and access lens to their work Proven experience as a Sales and Marketing Manager or relevant role Proven experience selling tickets to live events Strategic thinker who is aware of the big picture Ability to use data to drive decisions and set goals while using intuition to determine market segments and drive strategy Strong understanding of traditional and digital marketing strategies Exceptional communications and storytelling skills Excited to work in the performing arts as part of a dedicated team Confident and articulate, as well as willing to accept input · High proficiency in MS Office, website CMS, email marketing, and social media management · Proficiency in graphic design software and/or video editing software is a plus · Demonstrated excellence in communication skills (written, verbal, interpersonal), with both internal and external parties · Demonstrated excellence in project planning and prioritization, attention to detail, critical thinking, independent decision-making · Occasional evening and weekend hours COMPENSATION: This full-time, exempt management position includes health, dental, vision, disability, and life insurance benefits and a very generous PTO program. Position Pays $75,000. Hours are variable and include some nights and weekends.
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Development Manager, Institutional Giving

Organizational Background At the Harmony Program, music changes lives every day. Through collective music-making, children from under-served communities explore new avenues and realize their full potential. For over 15 years, the Harmony Program has distinguished itself by serving children in need, reaching them within their own communities, providing them with instruments and intensive, high quality … Read more

Art Talk with Poet Nathalie Handal 

Poet, travel writer, and playwright Nathalie Handal. Photo by Blair Prentice

“The world is the street I grew up on.” Poet, travel writer, and playwright Nathalie Handal was raised and educated all over the world — Latin America, the Middle East, Europe, Asia, and the United States. She still considers herself tri-continental, and her work is global in nature. She writes the literary travel column “The City and the Writer” for Words Without Borders; she is a literature and creative writing professor at New York University Abu Dhabi; and she is the author of ten award-winning collections, which have been translated into 15 languages. In addition to her poetry, Handal has written eight plays and is the editor of The Poetry of Arab Women: A Contemporary Anthology, a collection of poetry from 83 Arab women poets, historic and contemporary. In the interview below, Handal discusses this groundbreaking collection, how it came into being, and the impact her multicultural upbringing has made on her creative process. National Endowment for the Arts: When did you begin writing, and when did you first consider yourself a writer? Nathalie Handal: My mother told me I’ve always been a storyteller. The mystifying nature of language captivated my curious mind as child. Poetry comes from what I don’t know, or know most deeply. I feel whole when I write so I’ve always considered myself a writer and have never stopped desiring the ways imagination dares me to explore freedom. Only when my first poems appeared in the British magazine Ambit, chosen by John Burnside, and then when Lucille Clifton was teaching me how to put a poetry book together, did I attain a clear view of myself as a writer in the world. NEA: Has your global upbringing and education influenced your work? How so? Handal: The world is the street I grew up on. It taught me to listen, to walk towards connections rather than get lost in division. It taught me courage. Courage is everything you cannot see in a literary work. I live a tri-continental life. This globality informs my writing and creative research, and helps me imagine poems, stories, and a tomorrow that is ethical, empathetic, expansive. In the Caribbean and Latin America, I became aware of the diversity of the Americas as well as the movements of the Levantine diaspora. In Europe, I discovered an East and a West, a North and a South, and the many post-colonial and the many migrant communities from Africa, Asia, and the Middle East. In Asia and the Middle East, I constantly crossed vast cultures and languages, while many fixated on a narrow vision of the region. In the United States, I saw the communities of the world through the hyphen. An existential question about the nation lives in the politics of the hyphen. In New York City, I understood that though I am made of many global cities and seas, only in New York, I find the street I grew up on. NEA: Do your different writing practices—poetry, travel writing, and playwrighting—influence one another? How so? Handal: They inform each other, exist within each other. They show me writing can make anything. I am a poet in prose; a storyteller in poems; a traveler in every word. NEA: What distinguishes those practices for you? Handal: Poetry taught me the art of silence. Travel writing the art of stillness. Playwriting the art of life. NEA: What led you to edit The Poetry of Arab Women: A Contemporary Anthology? Handal: With less than three percent of literature in translation and having an international background, I felt a responsibility to participate in translation projects and the dissipation of global literature. Literature is dialogue, and I’ve always wanted to be part of the conversation as a writer and a literary activist. When I started The Poetry of Arab Women, I wasn’t aware of the colossal work it required. I wanted to eradicate the invisibility of Arab women poetry and introduce the diversity of their works. It was fundamental to unite Arab women poets regardless of where they were born, live, or what language they write in, as well as write a substantial introduction on Arab women’s literature and highlight the particularities of every Arab country. The introduction maps feminist movements and literary scenes, poetic commonalities and differences, as well as their varied socio-political contexts. NEA: What was the experience of putting this anthology together like? Where did you begin? Handal: It began in Paris where I was constantly at the Institut du monde arabe (Arab World Institute); as well as being inspired by the pioneering work and mentorship of Salma Khadra Jayyusi, founder and director of Project of Translation from Arabic (PROTA), a groundbreaking space for the translation of Arabic literature into English. Editing an anthology is not for those who lack fortitude or are faint-hearted. You have to embody the planner and the architect, the artisan and the painter. Every detail is monumental. NEA: The anthology showcases 83 poets. Are there any that didn’t make it into the book that you would also like readers to know about? They can be found in the W.W. Norton anthology I co-edited, Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond. The book includes 450 poets from 61 countries writing in over 40 different languages, grouped thematically into nine sections that work against normative taxonomy. A conversation threaded across the continents. But so much continues to change at a faster pace. When I started, I was working via mail and fax. Now we can get an answer in an instant. It is a different literary landscape at all levels. NEA: You are the author of eight poetry collections, is there one that is a favorite of yours or you hold particularly close to your heart? Why? Handal: Every book is a voyage. Every voyage a return to the same place and to an unexpected elsewhere. Every book reminds me what makes loss bearable is that love is there too. The book I am working on is usually the one closest to my heart. NEA: Is there anything else you want to say about writing? Handal: Writing is pleasure and pain because we have to stay open to all that’s inside. Places and people never die for a writer. Yet we still find ourselves in a strange condition — trying to reassure ourselves of what once existed. And sometimes, we fear confronting our nostalgia, the crevices of our heart. But truth is essential. The lie never leaves. Like history, we end up having to address it, atone.

Grant Writer

Hours & Location Part-time, contract (10-15 hours per week) Fully remote; weekly meetings with ArtsBoston Executive Director and/or other staff as needed This is a part-time, contract position for the summer of 2024 that will begin in June 2024 or sooner. ArtsBoston is simultaneously recruiting for a Director of Development; the Grant Writer role may … Read more

Sneak Peek: Leslie Sainz Podcast

Leslie Sainz: For me, poetry feels like the closest thing that we have to time travel. I think because poetry is not beholden to the truth, like nonfiction or journalism, and it’s also not beholden to sense, like most contemporary prose, I think it is able to use sort of the absurdities and expansiveness of its form to allow us to move through time in different ways. And I think that has always astonished me and is certainly what keeps me going, because it feels like poetry can and has taken me everywhere and anywhere.