Standing in the Gap: A Profile of Carrie Jackson

Standing in the Gap: A Profile of Carrie Jackson

Carrie Jackson has stepped forward to fill the void left in AUDELCO (Audience Development Committee, Inc.) by the death of Vivian Robinson, its founder and director. AUDELCO, founded twenty-five years ago, was created to generate recognition and awareness of the arts in Black communities and to build new audiences for theatre and dance companies.

Carrie Jackson was born in Savannah, Georgia and raised in Harlem. Always ambitious, she worked days and went to school at night, receiving an Associate Degree in Accounting and a Bachelor's Degree in Finance. Recently, she also received a certificate in Non-profit Management from Columbia University. Early in 1993, she decided to retire from her demanding position as a senior financial analyst at a New York City investment firm and become a financial consultant for nonprofit agencies, starting with AUDELCO. I recently spoke to Jackson about her new position.

V.T: People who are involved in Black Theatre will be glad to know that the dream did not vanish with the dreamer. What made you decide to undertake this tasks?

C.J: Basically because of the need for the organization to continue. The organization was not and is not in a position to hire someone who we thought was competent to take on the task. I have been handling the business of AUDELCO since last September. It was only logical for me to officially take on the title to be able to handle things with some sort of authority.

V.T: How and when did you become involved in theatre?

C.J.: In the mid-to-late 1980s. I had experienced the death of my mother, father, and brother within a four year span and my life had changed. I was in a saddened state of mind. A friend of mine had been doing work at National Black Theatre (NBT) and she invited me to come and volunteer, mainly to get me out of the house and give me some thing to do other than work to keep me occupied. I volunteered for house management at NBT and after a year or so the house manager, Mamie Stone, suggested that I volunteer with her to work at the AUDELCO Awards.

V.T.: How did you meet Vivian Robinson?

C.J.: I met Vivian at the pre-production meeting and was in awe of the efficient job that Ms. Robinson was doing in getting people to recognize Black Theatre. It was exciting.

V.T.: I understand that you have a responsible full-time position. Where do you get the energy to do a regular job plus work for AUDELCO?

C.J.: By splitting energies, utilizing resources of other volunteers and helpers.

V.T.: Vivian Robinson had some dedicated supporters and committed staff members to assist her. Have people rallied around or are you finding that you have to regroup and recruit assistance?

C.J.: For the most part there has been a rallying but recruiting new, enthusiastic volunteers is an ongoing task. I presently get continuing support from Darcel Brittingham, Renee Chenoweth, Fred Powell who is our chairman, Mary Davis, and others.

V.T.: Since you have been in the director's seat, tell us about some of your duties.

C.J: The director is the public image of AUDELCO. Some things the director does are make sure that the business gets taken care of. Our primary concern is with the welfare of Black Theatre. So the director and staff attend many plays and keep abreast of the artists' activities, create events that will bring audiences to see Black Theatre (besides the paperwork involved) proclaim the excellence of various artists by giving them the coveted AUDELCO Award.

V.T.: I hear that one of the first things you did was to find a new office space.

C.J.: The new office is at 2469 Frederick Douglas Boulevard (8th Ave.) between 132nd and 133rd Streets on the ground floor. It is conveniently located and handicap accessible. It is also a bit larger than our past headquarters. Some people have been very generous. Columbia University donated a copier, the Abyssinian Development Corporation donated furniture, Sandra Reeves Phillips donated artwork from her collection. Other donations are still coming in and will be gratefully accepted and acknowledged.

V.T: Monday, November 18, [was] be the presentation of the AUDELCO Awards. It has always been a glorious event where we get to dress up and honor our own.

C.J.: It [was] a glittering, gala event in honor of Vivian. It [was] our Silver Reunion.

V.T.: What new future plans would you like to see executed by AUDELCO?

C.J.: To continue to fulfill out original mission to create awareness of and provide audiences for theatre and dance in the New York City area. I would like to see us become a full research center for Black Theatre, a connecting link to other venues, exploring other outlets for their [artists'] talents. We are sincerely reaching out to the Black Theatre community for support, in order to continue what was started by the Queen Mother of Black Theatre. Memberships to AUDELCO start as low as $25. Join us in applying the Kwanzaa principals of unity, self-determination, collective work and responsibility, cooperative economics, purpose, creativity, and faith to help in the development of us becoming a self supporting and self-sustaining, economically sound community.

Other services AUDELCO provides are: The coordination of monthly activities to promote attendance to cultural programs; the annual month-long Black Arts Festival, since 1982; maintaining the Black Theatre Archives of scripts, costumes, etc.; the newsletter, "Intermission;" a series of productions geared towards young audiences; "Theatremania," the annual auction fundraiser in May; Open House (during Harlem week) and an out-of-state theatre trip.

Photo (Carrie Jackson)