Q&A with Sonja Kostich, Executive Director of Kaatsbaan Cultural Park

Sonja Kostich is the Executive Director of Kaatsbaan Cultural Park, a 153-acre artist sanctuary located on New York’s Hudson River. Sonja worked at Goldman Sachs from 2014 to 2017 in the firm's Controllers Division in New York.

What is Kaatsbaan Cultural Park’s mission and how do the organization’s values support that purpose?
Sonja: Kaatsbaan Cultural Park’s mission is to provide an extraordinary environment for cultural innovation and excellence. As both an incubator for creativity and presenter for world-class artists in dance, theater, music, film, poetry and visual art, Kaatsbaan provides artists with state-of-the-art dance studios, accommodations, an indoor theater with a performance floor the size of the Metropolitan Opera stage, and (most recently) an outdoor stage – truly a paradisiacal artistic country home for creative action and achievement – just two hours north of New York City.

We are committed to the advancement of diversity, equity and inclusion in the arts as we aim to present, promote and embrace professional and educational arts programming that accurately reflects our society. Kaatsbaan supports an inclusive and diverse range of artists and their most ambitious projects and encourage a broadly diverse group of individuals to participate in our programs and join our boards and staff.

We believe what makes an organization great are its people. I am most excited about the people that have become part of Kaatsbaan in just under two years – including our new staff, board, junior board and advisory board; the engagement of new supporters, the development of new partnerships with other non-profit and for-profit companies; and of course, the artists themselves, who are shaping our vision for programming. Each one of these individuals has been giving their talents, their time and their resources to help Kaatsbaan realize its fullest potential – and we are so grateful for our remarkable and growing community.

What does the name Kaatsbaan mean and can you give a brief history of the park?
Sonja: Kaatsbaan, Dutch for “a playing field,” was founded in 1990 by Kevin McKenzie (currently the Artistic Director of American Ballet Theatre), Martine van Hamel (a former ballerina who was one of American Ballet Theatre’s preeminent stars) and their two colleagues, Gregory Cary and Bentley Roton.

Upon receiving their not-for-profit 501(c) 3 status a year after being founded, a three-year search led to the historic Tivoli Farms as the ideal setting to build the dream facility. Tivoli Farms, once the equestrian playground for Eleanor Roosevelt, was purchased in 1997 with the financial assistance of two supporting individuals. After developing a comprehensive multi-phase business plan and receiving all permits and approvals from the Village of Tivoli, Phase 1 construction began in 1999. Funding for Phase 1 was provided via the issuance of $3.9 million in Dutchess County Industrial Development Agency (IDA) Bonds with additional funding from the NYS Environmental Protection Agency, the NYS Community Block Grant program and multiple individual donors. The studios, indoor theater, roads, parking and all underground utilities were completed in 2000 as part of Phase 1. In 2002, an additional $1.25 million was awarded by NYS Governor George Pataki for the construction of the accommodations. This Dancers’ Inn was completed in 2003. Since then, Kaatsbaan’s remarkable and influential facilities have paved the way for other cultural organizations in the Hudson Valley.

Kaatsbaan supports countless artistic endeavors. What are some of the most notable programs, events and offerings?
Sonja: Kaatsbaan’s programming has historically been two-fold: professional artist residencies and performances during the spring and fall seasons and a prominent summer ballet intensive for students.

Artist residencies are in service of Kaatsbaan's mission to provide opportunities for artists of all genres and demographics to create, live and collaborate in the idyllic countryside of the Hudson Valley.

Our outstanding educational programs nurture the next generation of dance artists, including our Kaatsbaan Ballet Intensive, a unique summer training program designed for young dance students to develop exceptional technical skills and artistic refinement, with the ultimate goal of preparing students for a career in the arts.

We are also dedicated to integrating dance into the lives of our youth and community through dance education workshops, special performances, open rehearsals, lecture demonstrations, coaching and training. In addition to inspiring creativity and enabling students to better understand themselves and the world in which they live, we believe dance can be an effective educational tool that instills focus, discipline and perseverance into the lives of students of all abilities. Kaatsbaan has brought the finest dance teachers, coaches and educators in the world to Upstate New York. These talented, committed and caring individuals have helped to design individualized dance programs for thousands of area school students. Through superior training programs, workshops and conferences for professionals, students and the public, Kaatsbaan looks to engage and advance community participation and leadership.

We are now also beginning to open up programming to include seasonal outdoor festivals, with our past summer 2020 festival as our inaugural outdoor event – and we continue to strengthen our artistic programming, residencies, and performances by forging partnerships with distinguished and celebrated artists and companies.

Tell us about your non-traditional journey that led you to working at Goldman Sachs?
Sonja: My first career was as a professional ballet and modern dancer, with my dance training beginning in Minnesota where I grew up. I moved to New York City when I was 15 to study at School of American Ballet (the school for New York City Ballet), transferring a year later to The School of Classical Ballet, a fully-subsidized school for American Ballet Theatre (ABT) consisting of only seven female students and five male students – this school was created and directed by Mikhail Baryshnikov, then Artistic Director of ABT. A year later, I was hired by Mr. Baryshnikov to join ABT, the professional company. I later danced with the San Francisco Ballet and the Zurich Ballet before moving into contemporary dance, where I danced in Baryshnikov’s White Oak Dance Project and worked on multiple collaborations with opera/theater director Peter Sellars and choreographer Mark Morris, among others. In 2007, I co-founded and co-directed OtherShore, a NYC-based dance company that thrived until 2013.

Upon retiring from dancing, I returned to school to pursue a business degree, with a focus on accounting and business communications. I graduated summa cum laude and was named salutatorian. Following, I began a full-time position at Goldman Sachs in the Controllers Division.

How has your diverse background helped you as the first dedicated executive director for Kaatsbaan in 30-years to lead the organization’s management, operations and short and long-term strategies?
Sonja: I had a 20+ year career as a ballet and modern dancer and transitioned into business, finance and arts administration upon retirement. I’ve taken on roles in pretty much every area of the dance and non-profit worlds both in front of the (stage) curtain and behind. With the additional experience of working at Goldman Sachs, I not only had the opportunity to work in finance, but had the opportunity to be part of a company that operates at an incomparable level. These seemingly disparate experiences create a complete picture which guides me in my current role.

In terms of leadership, my time at Goldman Sachs plays an invaluable role in my understanding of what great leadership means, having witnessed exceptional leadership at various levels at Goldman – I work towards that understanding on a daily basis.

Throughout my dance career, I never imagined myself transitioning from the artistic side to the business side, but these collective experiences, reinventions and lessons learned have provided the tools and perspectives I now need.

It is an honor to be able to bring together an incredible network that is decades in the making – as we work together to ensure Kaatsbaan’s vision unfolds, putting this former horse farm on the cultural map. Our plans for Kaatsbaan’s future parallel the vibrant growth of the Hudson Valley. Additional studios, a 500-seat theater, additional accommodations, a lodge and dining hall complex and the restoration and adaptive reuse of the historic 1895 Stanford White designed “Music Barn” are slated. The “Music Barn” will house a visitor reception area, shops, café and 10,000 square feet of art and exhibition galleries.

The Coronavirus has taken a toll on many arts organizations. How is Kaatsbaan adapting during this time of crisis and supporting its artists and performers? How can people help support the arts during this time?
Sonja: The COVID crisis has allowed for new perspectives to be recognized, as our daily lives and the world around us have changed. There are challenges for all businesses during this period of uncertainty and loss, with the need to pivot from “normal” operations in order to still provide service to its various communities (for Kaatsbaan that means professionals, students, local Hudson Valley – both as an artistic/educational offering and an economic contributor). One of the primary outcomes of this pivot has been a look at our operations and programming, and finally realizing a part of our mission that had yet to be fulfilled – that of a “cultural park” – utilizing our outdoor space of 153-acres. This manifested into a Summer Festival which ran every weekend throughout August and September and included live performances (dance and music solos and duets), as well as our very first light and sound installation in one of our barns and projected film installations – all with protecting public health as a top priority.

This is the first time Kaatsbaan presented programming that took place outside – and it will now become part of our new normal. Having now built the necessary outdoor stage, we have the additional resources to conduct multiple programs throughout the year, weather permitting. This would not have happened this summer had COVID not forced the need for solutions to its challenges.

During this pandemic, every performing arts institution, including Lincoln Center and Broadway have been shut down – almost 8 months now – with no expectation to reopen until fall 2021 at the earliest. Millions of artists have been out of work and unemployed – for what will be almost 2 years before we see theaters and performing arts companies reopening. During all of this, Kaatsbaan has provided a physical space that allows for some of these artists and theaters to continue — for example our Summer Festival supported over 100 NYC artists and gave 1,800 audience members an opportunity to attend safe live performances outdoors over the course of nine weeks. We were one of the only places in the country that was able to provide live performance. Because of the economic challenges for many during this pandemic, we decided to make the summer festival performances free and instead asked for donations. We donated 25% of performance donations to NAACP, LeBron James’ More Than a Vote and MOVE|NYC, a New York City based arts and social justice organization. The Summer Festival was a direct response to both the violence inflicted upon the global Black community and to the needs of the many unemployed artists. It also provided a means for local economic recovery.

This fall 2020, we are providing bubble residencies (similar to the NBA bubbles) to companies like Dance Theater of Harlem, so they can continue their organization’s operations (i.e. hold digital classes, livestream their annual gala and other performances, create new works, etc.) – all in the safety of the Kaatsbaan facility bubble. We are providing these bubble residencies to arts organizations through 2020 and 2021.

Kaatsbaan is a non-profit 501 (c) 3 charitable organization, so all of our funding must be raised – whether through earned or contributed income. Because of COVID, our earned income took a significant hit, and so contributed income has become even more important. Non-profits and arts institutions generally need support from individuals, foundations, corporations and government to meet 60% of its annual budget. With COVID that need has increased significantly. During this time of crisis, the arts industry has suffered enormous losses, and Kaatsbaan is grateful to have the resource of land and space to provide to artists, companies and theaters during this time – but we cannot do it without support in the form of donations and grants.

What is your fondest memory from your time at Goldman Sachs?
Sonja: The people. As mentioned above in my response to the first question about Kaatsbaan’s values supporting its mission – what makes an organization great are its people – this is something that I learned working at Goldman Sachs. I had no idea what to expect when I began working at Goldman Sachs – other than the expectation that it would be a completely new, albeit exciting, world for me. I met and worked with some of the smartest, hardest working and most generous individuals. Entering that world after a “lifetime” as a dancer was intimidating, but the culture at the firm was completely welcoming, supportive and filled with such a diverse group of individuals with equally diverse backgrounds. I always felt surrounded by like-minded people, working together to be the best in what we did. Working at the firm reminded me so much of being a dancer – striving for excellence with an amazing community. I want to bring that to Kaatsbaan.