Aaron L. McKinney, New Executive Director of Hi-ARTS Urban Incubator, Answers Six Questions

Aaron L. McKinney is the new executive director of Hi-ARTS, an urban arts incubator that fosters artists who employ Hip-Hop and urban aesthetics—especially Black artists and artists of color—to amplify their work within and beyond the organization’s home in East Harlem. McKinney obtained his Bachelor of Arts in Theatre Performance from Florida A&M University and Master of Fine Arts in Theatre Management from California Institute of the Arts. He has held various management positions throughout his career, from small community theaters including Tallahassee Little Theatre in Florida to large regional theaters like Center Theatre Group in Los Angeles.

McKinney’s professional leadership in performing arts and producing has been aimed at centering the dialogue that has always existed between the arts and social justice activism, highlighting how the intersection of these worlds serves as a vessel for addressing some of our most pressing social issues. Among the projects he has produced are the Off-Broadway debut of Theatre Evolution’s The Contract, a drama addressing the intersection of spirituality and sexuality, and the development phase of the musical Lunatic Sun about the effects of consumerism and gentrification. He served as the inaugural producer in residence of #LoveHustle, an artist-led performance and dialogue series that captures the tensions of pursuing one’s dreams as an artist. Prior to being named as executive director of Hi-ARTS, McKinney served as the organization’s general manager.

NiteLife Exchange (NLE) asks Aaron McKinney (AM) Six Questions:

NLE: How can we best define Hip-Hop and the urban aesthetic? Why is this genre important in a greater cultural awareness?

AM: Hip-Hop refers to work that engages emceeing, graffiti, deejaying and/or b-boy/girling. As a form of expressive culture, Hip-Hop has evolved over its history and will continue to adapt. In a broader sense, urban aesthetics include Hip-Hop and a continuum of works that respond to social, cultural, economic, or political realities disproportionately impacting Black and Latinx communities and communities of color. “Urban” has historically represented a particular engagement with the built environment, access to technology, aesthetic choices, and lived experience. Hi-ARTS’ use of Hip-Hop and urban aesthetics are deliberately broad points of entry to start, not stifle, creativity and artistic discussions.

This genre is important because as mentioned, it is a broad point of entry for many of the historically excluded narratives that don’t normally get mainstream attention. It is an opportunity to expand what audiences see and engage in. Not only is it a chance to highlight those narratives but also give time to artists of color to explore, play and develop work. Many artists are supported to produce a final product without much time in development or to explore the nuances of the work. We serve as an incubator—a development space for artists to explore and really dig into the messages they are trying to relay through their work.

NLE: How can your background in a more general theatrical experience inform your work with this specific art form?

AM: I think it is more about how my life experiences including my theatrical experience inform my work. I bring my full self to my work and I expect those that work with me do the same. It makes a difference when you walk into a space where the staff looks like you and there is a shared life experience and nuanced understanding of the work. I don’t separate my general experience with the work I do now. Many of the artists have worked in predominately white spaces and been in various spaces where they are viewed as more of a commodity rather than the human experience that they bring. We work to create an environment where humanity comes first then the art. So I take all that I know as a trained arts administrator and all that I know as a black southern born, HBCU-educated, PWI (predominately white institution) graduate degreed cis male to create a supportive, creative and safe environment for artists of color to thrive.

NLE: What are your immediate and long-range goals for Hi-ARTS?

AM: My immediate plans are to continue to stabilize the organization through this period of exponential growth and transition. Generally long-range plans include looking to the 25th anniversary of the organization in 2025. Goals include doubling the organization’s budget size, increasing staff, reviving a multi-city Hip Hop Theater Festival and have a thriving Hip Hop Center for social Innovation!

NLE: What can we do better as a collective cultural and theatrical community to empower the issues of the arts and social justice?

AM: I think one of the most important things is support. Take time to support these artists/institutions by attending performances and readings. Your presence means more than you can imagine. If you have some disposable income, donate to support some of smaller organizations that specifically target artists of color and historically excluded narratives. Your individual donations can lead to larger donations from foundations and other funders. Mainly spread the word and support with your time and treasure if you are able.

NLE: Growing up, what led you to pursue a career in theater?

AM: I think my family would say that performance has been in me since birth. I think I was always surrounded by individuals who saw the performance bug in me and continued to cultivate that throughout my life. My grandmother still has my daycare program that listed me as a graduation speaker. That continued throughout grade school with my participation in various theatre and public performance programs. In high school, I had the fortunate opportunity to attend The South Carolina Governors School for the Arts and Humanities for theatre (before it become a year-long school).

Although still very impressionable, I was convinced that a Business Administration degree was a more appropriate college major than the arts. However, it didn’t take long for me to find my natural fit in the Theatre Department at Florida A&M University. I continued my undergraduate studies in theatre performance but found a love for the combination of business and theatre. As a small theatre department, the students were not only taught performance but we also were exposed to the various administrative positions off the stage to make a production happen. I fell in love with the administrative side and completed my Producing and Arts Admin MFA at California Institute of the Arts. It has been quite the journey but I would not trade it for anything and I love the work that I do now.

NLE: Aside from your role as an arts administrator, what has been your favorite aspect of working in theater?

AM: This is very simple—THE MAGIC!!! The magic of creating, the magic of entertaining, the magic of collaboration. On stage or off the stage, the magic of it all keeps me coming back every day.