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The Atlanta Feminist Women’s Chorus, shown here at a 2004 performance, seeks to find its identity as well as raise revenue to survive. (File photo)
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March 1
Dinner at 5:30 p.m., show at 6:45 p.m.
Central Congregational UCC
2676 Clairmont Road NE
$30 adult, $25 adult (show only), $10 child
www.afwcchorus.org
June 7
Registration fee: $65 before May 15,
$75 after, 404-451-4763
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HOME > COMMUNITY > COMMUNITY FEATURE
By: MATT SCHAFER
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THE SURVIVAL OF THE ATLANTA feminist Women’s Chorus, founded in 1981, is likely to be determined in the next five months.
Choir leadership has canceled concerts, laid off the creative staff and canceled rehearsals due to financial woes. Now, the chorus is pinning its hope for a future largely on the success of two upcoming fundraisers.
First up is “P’Sghetti and Puppets,” a March 1 concert featuring performer Lee “That Puppet Guy” Bryan. The event begins with a spaghetti supper. The Fifth Annual AFWC Best Ball Golf Tournament follows on June 7. Between the two fundraisers and reaching out to private donors, the board estimates the choir needs to rake in $10,000 if it is going to live on.
“We have actually struggled with the straight revenue aspect of the business,” AFWC President Ann Pinyan says. “We’ve had to have a serious talk with the choir and the creative staff about the future of the choices.”
Earlier this month the board informed its members that its monthly expenses came to $2,600, and their best month of revenue totaled $1,400. As a result of the deficit, the board laid off artistic director Eileen Moremen and accompanist Margi Pietsch and canceled concerts.
“Right now it’s really just the board meeting to talk about the fundraisers, and what will happen there,” Pinyan says.
THE CHORUS SUFFERS FROM NOT having a clear business plan and a lack of vision, members say. The choir peaked at about 100 members for the spring 1993 farewell concert for founding director Linda Vaughn and finally dropped down to 20 members at the last concert of 2007.
“I think we have not done a real good job of running the business and reaching out to patrons and nurturing that community,” Pinyan says.
After opening up the golf tournament to men last year, Eileen Stone, golf tournament organizer and unofficial chorus historian, says she hopes to raise at least half of the needed $10,000 with the golf tournament.
“We would love to have as many people come to support us as possible,” Stone says. “If enough guys come, we’ll have separate prizes for them as well.”
IF THE CHORUS DOES MAKE ENOUGH MONEY to survive, most aspects of the group’s existence are up for discussion, most notably the word “feminist” in its name and the choir’s traditional non-audition status.
“Feminist is one of those words that brings to mind the picture of the bra-burning, man-hating woman in a lot of people’s minds, and that’s just not what we’re about,” Stone says.
Although there has been a male director in the past, the chorus has always been about women, predominately lesbians, singing together. Because choir members have never had to audition, the choir must hold intensive rehearsals to achieve the sound it desires.
“We didn’t want to be a ‘Kumbaya’ chorus sitting around singing. We wanted to be a very stringent chorus,” Stone says.
Pinyan and Stone say the chorus will revisit the idea of holding auditions.
The chorus also faces increased competition for performers and venues. OurSong, a gay and lesbian chorus, didn’t exist when the AWFC was founded.
At some point the board will hold a meeting with the membership and anyone interested in a joining the chorus to discuss what the future of the AWFC should be.
“Who are we? Have we moved too far away from our lesbian roots? Are we here to educate or just entertain and have fun?” Pinyan asks.
In Pinyan’s mind, however, there is one thing that shouldn’t change.
“Recently we put a tagline with the choir — ‘changing the world one song at time’ — and I think we have to continue that. I think we’re called to do that,’” she says.
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