Another World Is Possible, LLC

Another World Is Possible, LLC is a entertainment, management, and production company founded by professional dancer and performer ᏄᏫᏓᏱ Maura García in 2026. Originally formed as a supportive ᏔᎷᏣ talutsa, or basket, for García's creative output, the company has expanded to embrace collaboratively produced work including choreography, community arts & performance projects, dance films, live dance performances, multi-media productions, tours, visual art, workshops/residencies/masterclasses, and business ventures. Another World Is Possible is designed to uplift the belief that “every interaction with a living being is an opportunity to positively affect the world”.

Details

Website: maurathedancer.com/

Industry: Arts, Entertainment & Culture

Company Size: 3 - 7 main contractors

Type: LLC

Founded: 2026

Special Business Categories: Minority- Owned Business, Service-Disabled Veteran-Owned Small Business, Woman-Owned Business

TOP PRIORITIES FEB - APRIL 2026

1) Ask Jason & Haley & Acorn - Get someone to make for you (preferred) or guide you very closely step by step thru (acceptable) an actual business plan and financials PRIORITY - ask spirits to bring the people and community let me be vessel open to the mission and trauma held at bay and healed or part of impetus in red and white way.

Build Sustainable Creative Infrastructure: Lay the foundation to transform project-based work into a sustainable, values-aligned artistic business.

✅1) Develop a unifying mission and long-term vision that connects all projects

2) Seek targeted advice, input and/or assistance from knowledgeable professionals to set up basic business systems (budgets with overhead, fiscal planning, legal structure, regular check-ins) specifically to:

help facilitate the shift from survival mode to intentional, regenerative planning
work with these helpers to determine what type of support is needed in terms of reporting, communications, and back-end operations

2) Determine how/when these roles shuld play apart, in branding or just seeking funding, bids, ie - business grants for veteran elegibility. OR “ Maura Garcia, a person CPTSD, uses dance as her medicine and shares with the world, etc etc)

veteran, disabled, minority, non-enrolled N8tv, woman, ADHD, sexual assault survivor

3) With business and straegic plan in hand, apply for business grants with help from Indigenous Women project

ask help for business plan
financials
finding partners
finding eligible funding and identity
honeing in on most profictable and fulflling ventures as ones to concentrate on
posiiblity of cutting out services?

4) Real steps to finding Business Partner, Creative Partner and Funding Partner in whateer capacity/intetity they are meant to materialize

5) Together with team reasssing strategic plan and hone in and focus

Entertainment. An Experience For People. Arts. Culture. Fills Fitness Needs,Community Needs, hobby/fun needs?Sexy? Glam?

MY MISSION

To help people liberate themselves so that they can connect more deeply with theirselves and the living world around us.

MY VISION

To create create and spread joy through the healing power of dance.

MY PRIMARY ROLES - what i do

Professional Dancer and Performer Artistic Co-director | Workshop Facilitator Founding CEO (or chairwoman)

Dancer & Entertainer: Vibrant and captivating, Maura García is a performer who brings creative visions to life by channeling the energy of the sun and earth. She is skilled in many dance styles, choreography and/or improvisation, with specialties in contemporary, multiple Caribbean and Indigenous rhythm-based styles, and sensual expression.

Performer, Artistic Co-director and/or Worksho Facilitator for Multimedia Production: Multimedia dance performances, interactive dance experiences in collaboration with other Indigenous and POC artists. Their creations uplift Indigenous cultural values, uncover stories hidden by colonialism and unleash the power they have to change our realities.

Workshop Facilitator: Transformational dance workshops, master classes, residencies, and personalized movement sessions helping people connect more deeply with themselves, other humans and the earth around them. Taught by Maura García and/or other collaborating artists, participants explore movement as a vehicle for understanding the world.

WHERE & FOR WHOM

For performance audiences, community groups, private clients and other creatives via:

INDIVIDUAL PRICING STRUCTURE*

NOTE: THESE PRICES DO NOT NECESSARILY REFLECT THE COST OF THE PRODUCT, BUT RATHER MY “LINE ITEM COST” IN THE BUDGET. OVERALL CHARGE TO THE CLIENT MAY BE DIFFERENT.

I will offer its services using the following labor categories and rates. *My work time will not exceed 120 hours total per month to account for necessary non-show related body conditioning

disability how affect

Dancer available for up to 80 - 120 hours billable dancer work per month

Principal Dancer, $40 per hour - performance & rehearsals Includes $30 hourly labor rate based on CADA West MINIMUM hourly rate + 12% ($4.80) combined overhead for dancer upkeep costs such as unpaid training time, unpaid marketing time, and 13% ($5.20) self taxes.
Dancer, $30 per hour - rehearsals When working in another’s production. Fee includes $26 hourly rate + 13% ($4) self taxes. Additionally for each hour worked, I will add 12% ($3.60) under professional deductible expenses of training costs and/or marketing costs. If an agent fee or percentage is required these breakdowns may change.
Dancer, $200 - $1000 flat fee - performance day fee (live/virtual) Includes actual performance + warmup time + any rehearsals that occur onsite on the same day (tech, dress, production meeting, etc) + 13% self taxes. Variation in fee depends on the entire project budget and client.

Facilitator available for up to 5 workshops and/or sessions per month

Workshops, $375 per workshop - my fee only, NOT TOTAL COST Flatfee for any length of workshop. Cost includes concept generation + offsite preparation + travel + onsite loadin/setup/load + 13% ($48.75) self taxes.
Personalized Movement Sessions, $75 per hour - NOT TOTAL COST Hourly provider fee for private clients. Cost is based on going rates for private consultation with graduate degree holding professional. Includes facilitation + preparation time + 13% ($9.75) self taxes.

Artistic Co-director available for up to 40 hours per month

$30 per hour - artistic visioning meetings, dry tech, production meetings not related to being a performer, non-performer rehearsals Fee includes $26 hourly rate + 13% ($4) self taxes.

Founding CEO (or chairwoman) available for up to 40 hours per month

$0 per hour ($40 per hour value) - strategic planning, business meetings, team meetings, correspondence with team meetings
Lack of fee is based on hope that pending MST Military Disability Claim will provide some monthly non-taxable income to subsidize this cost. It is also based on willingness to invest in the business at the beginning and recognizing that there may be no funds available. It may be possible to revist this number in the future.

OUR MISSION

To inspire people to liberate themselves by channeling the sensual rhythms of the natural world.

OUR VISION

Our work is part of the shared work of liberation.

Our art is one of the sparks that frees people by giving them permission to express their true selves.

Another world is possible. We inspire new ways of seeing the world and solving problems by sharing traditional Indigenous cultural values.

Through our outreach, we heal and create more space for joy and pleasure by connecting people more deeply with themselves, other humans and the earth around them.

STATEMENT OF CHANGE

We believe that liberation is communal. By connecting people more deeply with themselves, other humans and the earth around them, we create space for joy, pleasure, and healing.

ROLES

NOTE - The need for the roles below is clear. The manifestation is not yet clear. Besides myself, are they 3 different people or combinations of more than 3 sharing parts or roles? May be organizational/ outsourced - ie production company(ies), booking agent (s), business manager (s), contracted grants writer (s), automated systems, etc. Shared across less people? Volunteers?

People willing to grow together, comfortable with this possibly not providing all income

🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾🤙🏾

TITLE: Artist CEO - Maura García

DUTIES & RESPONSIBILITIES (in order of personal importance and capacity to complete as disabled person):

Professional Dancer and Performer
Visionary
Artist CEO - includes final say regarding all business and artistic decisions; review and approval of financial planning, scheduling and operational logistics; review and approval of contracting with, hiring and/or involvement of any other partners/artists/staff and
Co-Leader of Strategic Planning & Driving Strategic Growth
Artistic Co-director
Workshop Facilitator
Administrative and Organizational tasks as needed, not to exceed 10 hours per week (includes lengthy email correspondence, meetings and application paperwork)

STRONG TRAITS (soft skills): Based on the Professional Leadership Institute’s DISC Personality Assessment

Supportive 84%, very strong

Conscientious 62%, strong
Inspiring 60%, strong
Dominant 44% weak

QUALIFICATIONS - Maura García

TITLE: Business Partner/Manager

DUTIES & RESPONSIBILITIES:

Hype person, Visionary
Professional representation - promote, locate and successfully book sustainable and/or profitable work engagements (order of importance and TBD by further co-strategic planning with CEO and team): solo performance in outside productions/events; presentation of full productions; commissions; group workshops/residencies; personalized movement session clients
COO - Chief Operating Officer
Leadership of Strategic Planning & Driving Strategic Growth
Contract Negotiation
Contractor style producer as needed - leading and/or assisting with locating and recruiting other artists and technicians for performance opportunities; aligned team building
Co-lead for financial planning, scheduling, and operational logistics

STRONG TRAITS (soft skills): Based on the Professional Leadership Institute’s DISC Personality Assessment

Inspiring: strong, over 70% preferred
Dominant: strong, over 70% preferred
Supportive: over 55%
Conscientious: over 45%
gregarious
alignment of values
conscientous
deep understanding of how want folks to feel and be treated
curious, open to new possibilities

QUALIFICATIONS

Native American or Indigenous from another continent - personal and cultural identification
Strong personal and/or business connections in the realms in which I want to work. Options could be corporate events, commercials, theaters, festivals, etc.
““ international
Ability to utilize connections as a means to obtain work and engagements
Deeply appreciates and passionate about multiple performing arts, lover of dance and movement - both professsional and in general, aligned with mission and values, invested in all aspects of the work* (note - with the understanding that priorities may shift and we may drop some offerings)
Ability to effectively organize multiple projects
Ability to effectively and respectfully communicate with a diverse team of other people
sales
marketing?
someone to find individual who is making decisions
background in sales or corporate events
close to deal
*some knowledge, love, appreciation, respect of performing arts/dance/wellness
international

TITLE: Artistic Partner

DUTIES & RESPONSIBILITIES:

Artistic Co-director - Person to dream with, create with, and see engagements all the way through production; person invested in continuing work/new ideas; person to potentially perform with (though not required if they are not a performer)
Technical Directo? Choreographer? Designer? cual es lo más importante
Assist with locating and recruiting other artists and technicians for performance opportunities; aligned team building
Co-lead maximum, minimum of Participation in Strategic Planning & Driving Strategic Growth - provide feedback, be interested in and dedicated to helping it happen through work, be in agreement with and part of final say
Administrative and Organizational tasks as needed - limit can be pre-established if required for physical/mental capacity
Performer and/or Workshop Facilitator - optional
Lighting or Projection Designer and/or Director - optional

STRONG TRAITS(soft skills): Based on the Professional Leadership Institute’s DISC Personality Assessment

Supportive: strong
Dominant: strong
Inspiring: strong
Conscientious: over 45%
alignment of values
curious

QUALIFICATIONS:

Native American or Indigenous from another continent - personal and cultural identification - preferred
IBPOC required

TITLE: Funding Partner

DUTIES & RESPONSIBILITIES:

Grants Manager - seek, find, apply for and successfully obtain funding opportunities; provide insight regarding grant adheareance as needed; prepare grant reports as needed
Investigate, Research, Locate new funding sources, opportunities and avenues
Lead for financial planning, scheduling, and operational logistics
Participation in Strategic Planning & Driving Strategic Growth - provide feedback, be interested in and dedicated to helping it happen through work
Administrative and Organizational tasks as needed

STRONG TRAITS(soft skills): Based on the Professional Leadership Institute’s DISC Personality Assessment

Conscientious: very strong, over 70% preferred
Inspiring: strong, atleast 70% preferred
Supportive: over 55%
Dominant: no requirement

QUALIFICATIONS:

IBPOC required

WHAT WE DO & HOW WE DO IT

Entertainment, Management & Production Company

We provide impactful Dance, Entertainment, Multimedia Productions, and Workshops.

Dance & Entertainment: Vibrant and captivating, Maura García is a performer who brings creative visions to life by channeling the energy of the sun and earth. She is skilled in many dance styles, choreography and/or improvisation, with specialties in contemporary, multiple Caribbean and Indigenous rhythm-based styles, and sensual expression.

Multimedia Productions: Multimedia dance performances, interactive dance experiences and community arts projects created by Maura García in collaboration with other Indigenous and POC artists. Our creations uplift Indigenous cultural values, uncover stories hidden by colonialism and unleash the power they have to change our realities.

Workshops: Transformational dance workshops, master classes, residencies, and personalized movement sessions helping people connect more deeply with themselves, other humans and the earth around them. Taught by Maura García and/or other collaborating artists, participants explore movement as a vehicle for understanding the world.

WHERE WE DO IT & FOR WHOM

For performance audiences, community groups, private clients and other creatives via:

GUIDING LIFEWAYS

(the first three are traditional Cherokee values taught to Maura García by Dotsuwa (tsigesv) - the late, great Mr. Benny Smith)

1) ᏕᎦᏓᏎᎳᏗᏍᎨᏍᏗ Degadaseladisgesdi

We uplift one another in all things - with every part of our being - words, songs, dance, art, actions, etc

2) ᏂᎦᏯᎢᏐ ᎦᏚᎩ ᏂᏧᏁᏍᏗ Nigayaiso gadugi nitsunesdi

We have an ongoing continuous spirit of working together in cooperation for the benefit of all.

3) ᎤᎵᏍᎨᏗ ᏕᎦᏓᏰᎷᎵᏎᏍᏗ Ulsgedi degadayelulsesdi

We are to hold all beings as sacred and of great importance.

4) We recognize that body sovereignty is one of the values of precolonized southeastern Indigenous societies and that the freedom to consensually share sensual and sexual expressions is one of the foundations of world liberation. (This value was developed through lived experience and research about Maura García’s sexworker ancestors, the power of femme bodies and pre-colonization/non-christian beliefs concerning sexual freedom).

LIFEWAYS IN ACTION

We believe that every interaction with a living being is an opportunity to positively affect the world, so there are infinite opportunities perpetuate these ancestral values and activism. We use them to guide all aspects of our work and actively practice these ways by:

1) Using kind words and loving language in business correspondence, meetings and rehearsals.

2) Uplifting and helping to sustain other Indigenous artists by hiring them, listening to them and sharing resources with them. This is a reciprocal process.

3) Creating opportunities to work in and with communities so that we can all have new and enriching experiences.

4) Using spoken Cherokee language in performances and choreographic patterns in defiance of US policies which attempted to extinguish our languages.

5) Disrupting the settler colonial narrative which erases Indigenous existence, by creating choreography and shows grounded in our values, designs, stories, work patterns and/or movement qualities.

6) Activily defying repressive colonial systems which seek to control our sensual pleasure and body sovereignty, by providing dance performances, art, and experiences that embrace the erotic as a normal and natural part of human existence.

7) Actively respect the living earth through consideration of the affects of performances, the creative process and production on all beings. Using processes that are less harmful, less wasteful and more beneficial to entire ecosystem.

BUSINESS PRICING STRUCTURE

NOTE - MTD has no current business plan or set financial strategy. Besides the numbers listed below the following equations may be used to create estimates in conjunction with existing numbers and/or may replace them:

1) DIRECT COSTS/ (1 - %INDIRECT COSTS)

DIRECT as any labor and artist fees, required money to be paid for rentals, costumes, etc
INDIRECT- 17% taxes and any hidden overall non-specifically billable cost, like possible admin% if required but not billable as labor hours)

2) TEAM PAYOUTS: Estimation of work rather than billable hours structure

OVERHEAD COSTS - vimeo, canva, domain name, website fees, business cards, llc fornation (yearly cost), business license, seguro, EIN, $200 website feb, $200 website june?, $120 Canva june, $300 vimeo may

$20 domain, $20 domain, $100 biz cards para negocio, 14% impuestos, otras cosas como un proyector, salaries/contractor fees (team and others), marketing, showcase app?, showcase production?, biz conference attendance and costs?, network costs or meals?, equipment rental?

dusabily????

Dance & Entertainment:

Dancer/Performer for Hire* - NOTE - does not include possible additional costs of dancer’s airfare, ground travel, local travel, lodging, meals and/or out of the ordinary specially requested costumes, accesories or supplies

Dancer, $30 per hour - rehearsals, time spent on related admin work, correspondence, contract signing, application/pitch time
Dancer, $200 - $1000 flat fee - performance day fee (live/virtual) Includes actual performance, warmup time and any rehearsals that occur onsite on the same day (tech, dress, production meeting, etc). Variation in fee depends on the entire project budget, client and/or any non-performer team member’s fee or %cut for related labor performed.

Multimedia Productions:

Multi-media Productions - $2,000 - $100,000 per production To be calculated at a rate of DIRECT COSTS / (1 - %INDIRECT COSTS) Fee is entirely dependent upon scope of work including considerations such as: whether or not it is a performance, interactive experience and/or months-long community arts projects; number of events; setting (theater, outdoor, etc); whether or not possible additional costs of airfare/rental car/train fare/bus fare/luggage, ground travel (home<>airport<>lodging), local travel (lodging<>venue), lodging, and/or meals per diem are being bundled as a buy-out payment or whether they will be negotiated separately; team member labor cost; how many artists and other contractors involved in the production; supplies, props and costume costs; equipment rental; space rental; client budget and/.or outside funding source; Indirect costs such as 17% non-negotiable overhead and possible 10% administrative fee

Workshops, Masterclasses & Residencies: NOTE - does not include possible additional costs of facilitator’s airfare, ground travel, local travel, lodging, and/or meals.

Personalized Movement Sessions, $102.74 - $200 per hour Fee includes $75 provider fee for private clients + %17 for taxes ($17.47) + %10 ($10.27) associated administrative work including scheduling, invoicing and misc, workshop-specific administrative work. Fee may vary depending on live or virtual, possible travel, client budget, needs of the client (they request homework and/or review of non-session video, etc) and/or non-facilitator team member’s fee or %cut for related labor performed.
Residencies, $2,568.50 - $10,000 per week Based on a rate of five, 2-hour workshops per week with variation depending possibly on amount of “on” time requested, the client’s budget, how many artists are facilitating/participating and/or non-facilitator team member’s fee or %cut for related labor performed.
Workshops, $513.70 - $1500 per workshop Lower fee includes $375 facilitator fee + %17 for taxes ($87.33) + %10 ($51.37) associate admin costs such as email correspondence, contract preparation, invoicing, and misc, workshop-specific administrative work. Fee may vary depending budget of the client, number of facilitators, and/or non-facilitator team member’s fee or %cut for related labor performed.

STAKEHOLDERS

S.W.O.T ANALYSIS

Strengths:

1) ability to pivot and willingness to do whatever is necessary to keep things afloat

2) deep and numerous connections, many untapped, in terms of allies, colleagues, presenters and supporters

3) multiple streams of income and various services provided

4) versatility of settings where able to work

5) work is/has been offered via personal/professional connections

6) old ways, nvwoti nole cultura

7) antepasados

Weakness:

1) dependence on others’ subjective opinons (for hiring, awarding ,etc) and/or perceived inability to generate income without being chosen/approved

2) lack of business infrastructure and overall financial planning

3) lack of representation

4) lack of team

5) risk of returning to the “old ways of doing things” and going it alone

6) CPTSD disability, ADHD, OCD

Opportunities:

1) angel donor provided funds to contract with professionals for the purpose of consults, grant working, and market research. This increases portential for expansion and lowers risk of burn out.

2) relocation to a new city

3) timing - harnessing recent national recognition in the field as a starting point to reach out to and begin conversations with potential agents, producers, and/or managers

4) timing - harnessing the momentum of the strategic planning process to approach and/or welcome in core/ongoing mission partners and collaborators

5) recent grant award has created time and space in schedule for restructuring without panic

Threats:

1) Frequent relocation which can threaten ability to establish roots, community and stability

2) ICE, immigration and travel restrictions, and human rights issues which affect the wellbeing, and//or restrict the movement of my collaborators, or myself, in and out of the “United States”.

3) lack of personal financial stability

4) no scheduled engagements - not “gigged out” for the future

5) unpredictable budget cuts across the arts sector which have unforeseen direct and trickledown affects

6) Being in crisis and resulting mental and physical effects which paralyze ability to think well, plan and dream.

STRATEGIC PRIORITIES - timeline unsure atm

I. Build Sustainable Creative Infrastructure: Lay the foundation to transform gig work/project-based work into a sustainable, values-aligned artistic business.

II. Develop Partnerships: Develop new alliances and activate existing community, to create meaningful, ongoing pathways for involvement and collaboration.

III. Get Professional Representation & Producing Partners: Expand impact, visibility and income by aligning with the right representation

IV. Grow Reach (Touring + Local Performance): Expand impact, visibility, and income by increasing performance opportunities.

V. Income & Funding: Nurture sustainability by aligning with the right partners.

STRATEGIC PRIORITIES - Tasks

BLARING OBVIOUS TO ME DUE TO CURRENT ISSUES NEED ANOTHER PERSON AND PEOPLES. ALL THE PLANNING IS WONDERFUL AND USEFUL, BUT THE PRIORITY HAS TO BE OTHER PEOPLE INVITING ME IN, ME INVITING THEM IN, OTHERS TO PERFORM WITH, PLAN WITH, WORK WITH. CURRENT ISSUE I HAVE NO GIGS AND NO MONEY. I WANT TO GET REPRESENTATION AND/OR BUSINESS MANAGER/AGENT PERSON, BUT FOR PERFORMANCE GIGS WANT TO WORK WITH ATLEAST ONE OTHER ARTIST OR TECHNICIAN FOR GIGS. I DO NOT EVEN HAVE MONEY TO GO TO CLASS OR SEE SHOWS OR NETWORK AND MEET POSSIBLE FOLKS. IS THERE A STARTING POINT OR FOCUS THAT WILL HELP THESE OTHER THINGS HAPPEN? AM I MISSING SOMETHING? OR DO I JUST NEED TO HEAL FIRST AND BE WELL IN HOUSING BEFORE I EVEN BEGIN?

I. Deepen Partnerships: Activate existing community, and develop new alliances, to create meaningful, ongoing pathways for involvement and collaboration.

1) Identify consistent allies, audiences, champions, partner(s), etc

✅potential partners, including MGL - MGL identified as constant an reliable

✅familial, personal, tribal and/or cultural allies and champions: Ahyoka, Gosdayi, MGL, Gaby, Gaylene all identified as reliable and remaining, possbily Ty Defoe, Elexa Dawson and Thea Hopkins as atleast ally

✅past and present artistic collaborators including, MGL, Ahyoka, Madeline Easley, Adrian, Gosdayi, Soumitra, Zion, Mona, Karen, Elisa, Andre B, Victoria, Gaby, Citlali, DeAnna, Devin, lighting director at MCA Chicago

✅past and present administrative or marketing collaborators, posibly only one still standing/reliable Desteney and Buddy identified as reliable, consistently responsive

PERHAPS NEED TO CHANGE FROM HERE BECAUSE DO NOT WANT TO WORK IN THE SAME PLACES AND WAY AND WANT TO WORK WITH CLIENTS WITH ENTIRELY DIFFERENT FUNDING ABILITY UNLESS I AM DOING A GRANT FUNDED PROJECT THAT ONLY REQUIRES ME TO PERFORM/TEACH AND HAS ANOTHER MANAGER

continuing allies of the work including Merindah, Yura, LiberArte, Karen, Ayllu Arts, Amber, Veterans Art Movement, Jhon, Monday, KCIC
donors including April, Amy, Arias, SKL and Tuvara
past personal presenter contacts (research CV) including Allison P, Teagan, gossipy chick from MCA, Gabey Tayec, Ojeya, Beth of museums
past testimonial givers (research website) including Connecticut College professor, Portland Arts director, Ruben
past presenters, not so close contacts (research CV for past 10 years) Producer Hub, Performance Space
past dance companies/choreographers/productions performed with (research CV for past 10 years) including Elisa, Malcolm X, Toby, Oscar, Tampa folks, Barbea
people who engage with the email list (search mailchimp analytics & saved inbox comments) including Erin L, Janice, Aunt Lois, Denise Barnes
interested producers including Marÿa, Courtney, Laura Greer, Olivia, Heather
interested agents including Assis, Laura Colby, Phyllis Rush, Jody Kaplan, Rachel Cohen, Neon Entertainment
consistently supportive Native Arts Advocacy organizations and people including, Emily, FNPA, IPAA, AIP, Ayullu Arts
consistent organizational partners (search CV and honors) including KCIC, Ackland, Matriarchs Uprising, Talking Stick Festival, Blak Dance, Houston MET Dance
past and present granting organizations (research CV for past 10 years) including MAP Fund, Dance/USA, WAA, WA state artist grant, Snapdragon, Rau. Emergency Funds, Demil Art Fund
past and present organizations for whom I served as a panelist (research CV) including Native Arts and Cultures, McKnight, CSF, Atlanta Dance Festival

2) Reframe collaboration as collective opportunity, not individual burden

✅3) Invite trusted/qualified colleagues and professionals into the strategic planning process to critique certain aspects of plan

✅graphic designer to help with a basic website readability review, with a specific focus of suggestions to streamline the EPK pages

✅4 people to review intent, effectiveness and clarity of mission, vision and “how we work” statements

✅seek informational interviews with performing arts professionals who have admirable/inspirational careers. Ask questions about their career trajectory and specific actions that resulted in performance opportunities, increased sustainability and relationship/community building

NOTE: HAVE BEEN SLIGHTLY UNSUCCESSFUL TO DATE (FEB 4, 2026) WITH #4 DUE TO COMPLETE LACK OF INCOME AND EXTENISIVE TIME SPENT GETTING SOCIAL HELP AND SECURING HOUSING, ELECTRIC, PHONE, AND FOOD HELP

4) Create new partnerships with aligned organizations and collaborators by relocating to a geographic location that has a sizeable Native community with organizations/groups that regularly host public community gatherings (culture nights, story telling events, craft nights, pow-wows, round dances, community garden work shifts, etc) and a viable local dance gig economy, studio residencies, professional level dance classes in relevant styles, and a vibrant local working professional performing artist community (ie community of committed professionals who make their livelihood from their work as performing artists)

investigate, attend and network at local performing arts venues and events that present or feature local paid talent
join (within financial/time capacity) and network at local performing arts/mixed arts councils, societies and/or guilds.
attend and network at professional dance classes in relevant styles
investigate local dance companies. If aligned attend their classes and potentially develop a collaborative relationship

5) Tweak communications to feature engagements as part of a long-term vision, not just individual shows

6) Host and schedule updates that foster transparency and shared purpose

7) Begin informally, yet intentionally, collecting feedback at all public events (immediately following the show/workshop/event) - either via video, audio, and/or by writing down testimonials or quotes

8) Obtain an in house booking manager, collect names of all?

II. Build Sustainable Creative Infrastructure: Lay the foundation to transform project-based work into a sustainable, values-aligned artistic business.

✅1) Develop a unifying mission and long-term vision that connects all projects

ACTUALLY HAVE BEEN DOING #2 AND REALIZE I STILL HAVE NO BUSINESS PLAN AND HAVE BEEN NOT GOTTEN FINANCILAS HELP. HOWEVER I AM IN AN INDIGENOUS WOMEN’S BUSINESS PROGRAM VIA NC GROWTH ORGANIZATION AS WELL AS NATIVE LAUNCHPAD IN VIA THE ACORN IDRS ORGANIZATION. THESE STARTED IN JAN 2026 AND HOPEFULLY WILL HELP WITH THIS PART

dance business financial planners, entrepreneur financial resource centers or financial counselors who can help facilitate the shift from survival mode to intentional, regenerative planning
work with these helpers to determine what type of support is needed in terms of reporting, communications, and back-end operations

3) Begin building core team and clarifying roles by activating current network of colleagues, personal and professional connections.

discuss current strategic planning work, goals and the types of help desired
be open to suggestions for other individuals and/or organizations to contact as potential team members
building on work done in goal I, clarify and annotate core team roles including but not limited to people in the artistic, financial, representation, production and admin fields.
invite, recruit and/or contract with identified core team members in accordance with their roles (if necessary). Create a “reach out” schedule if necessary

III. Grow Reach (Touring + Local Performance): Expand impact, visibility, and income by increasing performance opportunities.

1) Contract with someone to search and apply for financially feasible festival performance opportunities (for dancer/entertainer or multimedia productions). They will:

Research the prospective list of festivals (provided by Andy H.) and identify which are still viable and whether or not they accept submissions
Of the vetted festivals, determine which are financially feasible
Create a yearly submission spreadsheet and schedule
Apply/submit to feasible festivals in accordance with the created schedule
Do the same for this list https://bclive.ca/directories/festivals/#!directory/map

#2 BELOW SEEMS ALMOST USELESS AFTER A YEAR OF NONRESPONSIVENESS. I AM NOT “GIVING UP” BUT FEEL ANOTHER STRATEGY WOULD BE WORTH FOCUSING ON AND THAT I SHOULD SPEND VERY LITTLE TIME ON THIS WITHOUT CONNECTIONS AND/OR REPRESENTATION

2) Search and apply for new, relevant dancer/entertainer audition opportunities and open call concert dance presentation opportunities (for multimedia productions) via:

one paid platform (Backstage)
multiple free platforms with listings (playbill, dance opportunities, seattle dance, etc)
email list announcements (Creative Capital, IPAA, etc)

3) Contract with someone to search and apply for financially feasible industrial performance opportunities (for dancer/entertainer or multimedia productions). They will:

Research the prospective list of industrials (provided by Andy H.) and identify which are still viable and who the producing entity is

Contact the producing entity and determine whether or not they accept submissions AND if the fees paid are sustainable and feasible
Create a submission spreadsheet and schedule
Apply/submit to feasible opportunities in accordance with the created schedule

IV. Get Professional Representation & Producing Partners: Expand impact, visibility and income by aligning with the right representation

1) For Aniwisvsgo’i, EveryBody's Dance, Step This Way, Site-specific commissions and Workshops

✅search the APAP list for potential booking agent/agency matches, contact them and submit materials and/or request an informational interview - over the course of 3 months, contacted over 200 different agents, managers and/or production companies. Though I did get some responses, several complements on my work, and even 4 consults, everyone had a full roster, wanted to see the work live in the future and/or was getting out of the business

determine if a separate public performance and industrials representation is needed
obtain a booking agent(s) for work mentioned above (could potentially be one entity or multiple entities)

2) For sensual work and work deemed adult entertainment

enlist aid of erotic labor colleagues to locate a trustworthy, ethical and efficient individual who is interested in finding and booking gigs on behalf of Maura The Dancer
begin meetings with candidate(s) and contract with someone on a percentage cut basis

3) For Hawinaditlv, Hey Google! and Lessons of Erotic Labor

research the CIPA, SPA and Producer Hub lists for potentially aligned producers
sign up for preliminary free consultations with aligned producers
begin conversations with and begin working with an aligned producer (individual or individuals) and/or producing organization(s)

4) Upon relocation, investigate potential local commercial/industrial production companies or event planning companies. If feasible sign with them (as Dancer & Entertainer talent, for Multimedia Productions and/or Workshops)

5) For “Maura The Dancer” overall trajectory

✅search the APAP list for potential manager matches, contact them and submit materials and/or request an informational interview - over the course of 3 months, contacted over 200 different agents, managers and/or production companies. Though I did get some responses, several complements on my work, and even 4 consults, everyone had a full roster, wanted to see the work live in the future and/or was getting out of the business

if possible and feasible given scope of work, obtain a manager

6) Upon relocation, research local dance companies and nightclubs. If the potential work/representation offered is mission aligned and fiscally feasible - network, go to class and/or audition and obtain a contract either as a guest performer or regular performer.

7) Research the possibility of having a agent and/or manager specifically for museum commissions, performances, remounts and workshops (dedicated booking agent or agency). If aligned and feasible, begin working with this person or agency. According to Ellen Nettles, best practices involve speaking directly to curators or even finding out who is on the board and talking with them.

V. Grants & Funding: Nurture sustainability and ability to care for team by aligning with the right funding partners

1) Contract with someone to research, locate and schedule grant funding opportunities in accordance with mission, values, the different areas or work of Maura The Dancer and/or specific multimedia productions.

2) Work with contracted grant researcher to apply for scheduled grants

3) When awarded, contract with an meticulous admin assistant to create contracts, manage any required grant data, complete or assist with grant reporting and other administrative tasks related to the fiscal and/or project-related activities of the grant

MEASURES OF SUCCESS

To be assessed at the beginning of each lunar month

1) Core Team Identified & Engaged

partner(s) (exact profile TBD via working strategic plan, options may include career management, business management, visioning partner and/or core artistic partner)
artistic crew [exact profiles TBD via working strategic plan, options may incude an ongoing dramaturg, choreographer, tech director, stage manager, costume designer, musician (s) and/or dancer(s)]
cultural check-in crew (exact profiles TBD via working strategic plan, will include Cherokee culture bearers and other Indigenous performing artists)
local/regional representation for industrial performances (production company or event planner)
local/regional representation for talent (dance company, nightclub and/or production company)
touring representation for museum commissions, performances, remounts and workshops (dedicated booking agent or agency)
touring representation for industrial performances and workshops (dedicated booking agent or agency)
touring representation for public performances (dedicated booking agent or agency)
touring representation for erotic/sensual engagements (dedicated person)
producer and producing partners for Hawinaditla, Hey Google! and Lessons of Erotic Labor (dedicated producer per show or one for all)

2) Engagements: 35 per year (48 weeks in a year = 35 “on” weeks, 4 weeks off for vacation and fasting, 9 weeks for rehearsals, production and/or intensives)

minimum of 28 dance performance events per year, TBD later if the breakdown matters in the context of the greater mission (venue? touring? local? industrial or public? solo or ensemble? hired dancer or dancer/creator? full length? excerpts?)
minimum of 7 workshop/masterclass events per year

3) Expenses Fully Covered

48K salary per year for Maura García
TBD Business partner salary and/or fee
TBD Artist partner(s) salary and/or fee
TBD if relevant Artistic crew per engagement fees
TBD cultural check-in crew stipend

Project and/or show specific expenses outside of artistic fees, including but not limited to airfare/mileage, ground travel, meals, lodging, supplies, contractor
As needed contracting with an accountant (or financial advisor), physical therapist, and administrative assistant

NOTE I HAVE BEEN WORKING THE MOST ON #4, BUT THERE IS AN ISSUE. I HAVE A HOUSING VOUCHER, GOT ELECTRIC VOUCHER, FOOD STAMPS, FOOD PANTRY, SEVERAL PHONE BILLS PAID BY OTHER ORGANIZATIONS, FURNITURE PURCHASED BY ONE ORGANIZATION. ALL WONDERFUL AND AMAZING BUT THERE HAVE BEEN SOME UNFORSEEN ISSUES

. 1) THE TIME, LABOR AND MENTAL COST OF SEARCHING FOR, APPLYING FOR, SUBMITTING REPORTS FOR & OBTAINING THIS HELP HAS BEEN GREAT, SO SHOULD BE CONSIDERED WORK FOR “PAYMENT”. I DID NOT ANTICIPATE THE TIME

2) THIS HELP IS NOT NECESSARILY LONG TERM AND THE TIME IT TOOK APPLYING HAS USED UP TIME/ENERGY THAT MAY HAVE BEEN USED TO GET MORE INCOME? ONCE THE ONE TIME HELP, EMERGENCY HELP, SEVERAL MONTH HELP ETC ENDS I AM STILL IN THE SAME BASIC NEEDS CRISIS SURVIVAL MODE

3) SOME OF THIS HELP IS CONTIGENT ON INCOME, SO IF I HAVE FOOD STAMPS FOR EXAMPLE AS A SUBSIDY, ONCE I START EARNING MORE I WILL NO LONGER QUALIFY AND LOOSE THAT HELP

4) SUBSIDIES THAT ARE SUSTAINABLE ARE ONLY

VA DISABILITY - WHICH IS A CURRENT UNKNOWN
THE FOOD PANTRY

5) I HAVE RENT HELP UNTIL MAY 1 AND MAY BE ABLE TO GET SOME AFTER FROM ANOTHER ORGANIZATION, BUT OTHERWISE MAY NEED TO GO TO SHELTER

4) Financials

Assessment of income needs completed with a focus on sources of income and whether or not there needs to be additional sources other than artist fees, grants and donors. Options may include rental income, merch, and/or inkind subsidization of certain costs (ie Maura is a building super in order to have free personal rent thereby reducing the 48K salary requirement, Maura works at a community garden in exchange for food, thereby reducing the 48K salary requirement, Maura wins a studio residency which allows for free ensemble rehearsal space, Maura teaches a class at a dance studio in exchange for free solo rehearsal space, etc, get paid to train? fitness model? zumba instruction?farm work?)
Maura The Dancer budget created (yearly, possibly 4 year) including line items such as overhead
Completion of fiscal planning process with goals of Maura The Dancer being a business that has a carryover profit for each event and year