Denise Pate Interview - 2025 Arts Seva Award Recipient

Denise Pate is a trailblazer in bringing insight, vision, and skill to the performing arts field, particularly in the Bay Area as an Arts Administrator and Leader. She has been pivotal and a pioneer in bringing voices of artists of color and traditional artists into the center of the conversation in the Bay Area performing arts field, as well as regionally and nationally. She began her career in dance as a member of the Dimensions Dance Theater dance company. We are thrilled to be honoring Denise’s decades of commitment to the performing arts field with the 2025 Arts Seva Award.

Q: You started your career as a dancer before moving to arts administration. How has your dance background influenced the way you approach arts funding and cultural equity today?

Denise Pate: As a dancer who trained in classical ballet, modern, and several forms of African-derived dance, I spent time training in different communities. I studied dance in South L.A in a Black-owned ballet studio that was frequented by L.A.’s upper middle class Black community; took ballet in Marin County’s affluent community where most of the students and teachers were white; danced in studios in Oakland-where most of the teachers and students were Black. When I went from studio to studio, I was aware of the difference in resources that often broke down to economic and racial differences. The Marin County studios had well-designed floors, spacious rooms, with many amenities. The Oakland studios usually had uneven floors, smaller rooms, and minimal dressing room space. But no matter how ragged the studio was, it didn’t change the richness and value of the experience I had there. In the Black-owned studios, we learned to dance around the splintered floors and bumps, avoid the broken barres, and dance in limited spaces. It didn’t change the quality of the training or the passion that I saw from the teachers and students.
But just think about what kind of art these people could create if they had spacious studios, well designed dance floors, mirrors, etc.? They could create and learn at a higher level. My work is dedicated to providing resources; financial and social capital for those artists and organizations who do not have a pool of wealthy donors or families with generational wealth.

Q: You were a pioneer in the Bay Area performing arts field, advocating for greater support and recognition of artists, traditions, and communities of color. What lessons could you share from that work?

Denise Pate: When decisions were made about programming, policies, and funding, in the past- “we” (traditional artists and communities of color) were not part of the decision-making body. I learned from some of the early pioneers in the arts administration world: my mentors; Deborah Vaughan (Dimensions Dance Theater), Dr. Halifu Osumare (scholar, founder of Everybodies Creative Arts Center) that we must be present at the meetings, serve on the committees, speak up to the public officials, serve on the funding review and audition panels, to affect CHANGE. I loved being a dancer, but I felt that I was a better Arts Administrator- particularly best at GRANT-MAKING/FUNDING. I knew that I could have more influence as an arts funder.

Q: You first encountered Pandit Chitresh Das in the 1980s. What struck you most about that first experience, and how did it shape your perspective on Indian classical dance?

Denise Pate: I first encountered Pandit Chitresh Das when I was a college student at Dominican University in 1981, when he performed as a soloist at the college’s venue Forest Meadow. I was struck by his skill (I’d never seen Kathak dance!), and connection with the audience. He was humorous and personable. In 1983, I was a member of Dimensions Dance Theater, and our companies were part of the program for that year’s SF Ethnic Dance Festival. Pandit Chitresh Das was my very first exposure to Indian classical dance. I loved the percussive footwork; it reminded me of my own dance roots in tap, African dance, and Black social dance! From there, I learned that there were other forms of Indian classical dance! I’ve since attended performances that featured Bharatnatyam and Odissi, but I have a special love for Kathak. I got to know the SF Bay Area Indian dance community through my long association with the SF Ethnic Dance Festival. One of my jobs was to recruit artists and audition panelists for the annual festival auditions. The Indian dance companies have a profound presence in the region. There were many classical and folk-dance forms represented in the auditions and the performances.

Q: You currently oversee millions of dollars in municipal arts funding each year. What factors do you consider when deciding how to distribute that funding among artists and organizations? 

Denise Pate: In all of my positions as a municipal arts funder, I’ve used these factors in the distribution of funding:

1) Prioritize cultural diversity, allowing those marginalized communities to have access. There also must be a high level of artistry, diverse leadership, community engagement (does this project matter to the community they plan to serve?), and an appropriate level of project planning skill on the part of the applicant.

2) There must also be a mechanism for artists and organizations just entering the grant process, who may not be as skilled at grant writing and preparing work samples. Provide technical assistance or create a “protected” category that is only for first-time applicants. This may level the playing field. I learned not to be a funder who only “funds the best grant writer”-but funds meaningful and valuable art that matters to the community.

3) Recruit a diverse review panel that is well-oriented and knowledgeable about grant review. Be clear about what is considered a conflict of interest and recuse those scores or that panelist.

4) Provide more funding for individual artists-an often-forgotten group.
5) There are less opportunities for individuals to receive funding.

Q: How do you think diverse art forms and artists contribute to the cultural fabric of the Bay Area?

Denise Pate: The ability to learn about and experience the diverse styles of music, dance, visual arts, and customs from other people enriches our lives. I love the cultural mix of the SF Bay Area. In one weekend, I experience art forms that represented African, Latinx, and Asian cultures. I heard the music, saw the dance, and even enjoyed the food. 

Q: You’ve seen Indian classical dance thrive in the Bay Area for decades. From your perspective as a funder, what unique strengths do Indian classical dance organizations bring to the larger arts community?

Denise Pate: These dance styles have been propagated and supported for decades; there’s a

sense of pride in their heritage. There’s an audience that can financially support the presentation and preservation of the artform. The SF Bay Area regional Indian community seems very prosperous and willing to support their cultural institutions. I was impressed with the story behind Milipitas’ India Community Center, founded by the Godhwani brothers. It’s no surprise to me that the largest Indian American center in North America is located in the SF Bay Area (Milpitas, CA).

Q: How has your work with the San Francisco Arts Commission changed your own understanding of community, culture, and the role of the arts in Society?

Denise Pate: I KNOW that the ARTS can change lives. I am pleased that I’ve been able to work for a city that understands the role of arts in our society and civic culture. Not only is it an economic driver for our city, but it impacts the lives of residents and visitors to our city.

I have numerous stories about how it impacts the lives of artists and the community. I’ll often have an arts experience that “changes” me in some way; it may introduce me to a new community, change my perspective about something, or educate me. It has also had the power to evoke great emotion. Some performances have made me laugh, cry, and shout. Others have “changed me” in a way that was more profound, by changing my perspective or opinion about something. I’ve learned much from my well-skilled staff, who have deep connections with the SF community. Also, the City’s deep investment in the arts economy is important to note. Artists need economic support to remain in SF and continue to build their careers and support their organizations.

Q:  Is there anything else you would like to add?

Denise Pate: I’ve had the fortune to be able to see various styles of classical Indian dance in

the SF Bay Area. The Kathak dance community has flourished under the leadership that was cultivated by Pandit Chitresh Das. I am pleased to witness how his influence continues through his disciples- evidenced by the exemplary training that I see at the school, dance company, and the Chitresh Das Institute. I attended one of the CDI school recitals this past spring, and was impressed with the number of intergenerational students, family support, and high-quality

Join us for the award ceremony at the November 8th performance of “Veil of Janki Bai” at ODC Theater at 8pm. Link to get your tickets.