CounterPulse moved from SOMA to the Tenderloin after being priced out by the pre-pandemic tech boom.
Julie Phelps, artistic and executive director of CounterPulse, is balancing a capital campaign to acquire its building at 80 Turk Street and how an arts organization can viably support the Tenderloin. Julie Phelps has a plan. She must. As artistic and executive director of CounterPulse, an arts organization that has been supporting emerging dancers and performers since 1991, her work is geographically located at the intersection of conflicting interests.
Phelps, 38 and a native of Minnesota, has been with CounterPulse for 15 years. She started working five hours per week as front of house staff and became the artistic director in 2014, supporting the development of local artists like Monique Jenkinson and Larry Arrington. “I’ve grown up with the organization,” she said. “The founders — Jessica Robinson Love, Keith Hennessy and Jess Curtis — were mentors.
In 2017, her role expanded to artistic and executive director. In an era when distributed leadership is on the rise, Phelps does not take the joint role for granted. “CounterPulse punches above its weight in efficiencies,” she said. “By streamlining the overhead of CounterPulse we invest more money into programming.” One executive position is cheaper than two. Most of the staff are working artists for whom the 40-hour work week is not a priority.
According to Victor Cordon, the organization’s board vice chair, “Owning our building will provide much needed stability to CounterPulse and the communities we center and serve. It will ensure San Francisco’s legacy as an artistic and cultural hub, specifically in dance and performance arts.”
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