Cabd Inc.

“Form 990 is reviewed and approved by the board prior to filing.”

“The organization has a board-approved conflict of interest policy. On an annual basis, each board member and senior staff must fill out a survey outlining any conflicts or lack thereof. If conflicts are identified, the board member must outine the nature of the conflict and share this with the board.”

“The process for determining compensation for the organizations's executive director consisted of independent research and a board review of comparable organizations. Full board approval is required.”

“The process for determining compensation for other key employees consisted of indepenedent research and a board review of comparable organizations. Full board approval is required.”

“The governing documents, conflict of interest policy, and financial statements are available upon request. As well, the form 990 appears on such public websites as guidestar.org.”

“Committed to the artistic vision of camille a. Brown, cabd creates, produces, and performs brown's choreographic works, offers dance engagement activities, and provides a multi-faceted platform for sharing and building understanding of and appreciation for the african american experience, fostering interaction and dialogue among diverse communities in nyc, nationally, and globally.”

“After a long pandemic-induced hiatus, cabd returned to performing in 2022, giving 21 performances at 10 venues throughout the year, including the hammer theatre at san jose state university, ca; the gogue performing arts center at auburn university, al; gmu center for the arts at george mason university, fairfax, va; the hopkins center at dartmouth college, hanover, nh; the pocantico center (outdoor stage), pocantico hills, ny; the david r. Rockefeller creative center for the arts, pocantico hills, ny; the lied center at the university of nebraska, lincoln, ne; zellerbach hall at the university of california, berkeley, ca; the joyce theater, ny, ny and the apollo theater, ny.ny. Cabd's new york city home season took place october 25-november 5, 2022. The joyce and apollo theaters presented a two-week celebration of brown's trilogy of dances on race, culture and identity: "black girl linguistic play- and "mr. Tol e. Rance" were performed at the joyce theater; and "ink" was performed at the apollo theater. This historic season marked the first time these three landmark works were presented back-to-back. The company's performances received nightly standing ovations. In 2022, the company also developed a new work. Ms. Brown created "journey, movements i, ii, iii" to music by wynton marsalis for the opening of the david r. Rockefeller creative center for the arts, in pocantico hills, ny on september 29 and 30, 2022. The work, for twelve dancers and live string quartet, was commissioned by the rockefeller brothers fund. In addition, the organization set its repertory dance "new second line" on students at san jose state university and rehearsed students at nyu tisch school of the arts for its performance of "new second line" at the tisch school of the arts graduation ceremony at radio city music hall in new york city. In 2022, the organization partnered with 22 nyc community neighborhood centers, arts and social service organizations, and public schools, and 2 national partners to bring free in-person and virtual every body move (ebm) social dance workshops to individuals of all ages, with a focus on black and brown youth in harlem, the bronx, queens, and brooklyn who lack access to the arts. Cabd provided 439 free workshops to mostly adolescent girls, including 12 every body move at home social dance classes for youth, in afrobeat, afro-caribbean, and afro-house social dance styles, december 12- 31, 2022. We also provided 21 mentorships to emerging dancers, each mentee was paired with a cabd dancer or alumni, who mentored the emerging artist over a 3-month period. Mentees are accepted into the program through an online mentorship application process. In addition, cabd provided 32 hours of professional development sessions for teaching artists and educators and hosted free virtual artist/scholar lectures on social dance-connecting a broad community of dance artists, scholars, students, and those seeking deeper knowledge of black aesthetic culture through an exploration of the rich history of movement and music originating from the african diaspora- serving nearly 2,400 viewers. The organization's programs are supported primarily by grants and contributions, performance and some staging fees.”