On a warm summer day, the International Examiner had a conversation with Manny Cawaling, the Executive Director of Inspire Washington, and Brian J. Carter, the Executive Director of 4Culture to discuss the impactful Doors Open King County initiative. Cawaling’s dedication to arts and culture has not only influenced local policies but also inspired a movement toward greater equity in cultural funding.

King County’s vibrant arts and culture scene is on the cusp of an emergent revolution, and at the heart of this transformation is Doors Open, a groundbreaking initiative spearheaded by Cawaling and Inspire Washington. According to 4Culture’s Executive Director Brian J. Carter, “The amount, dependent on tax collection, will be approximately $100 million a year over seven years.” Doors Open promises to reshape the landscape of cultural funding, prioritizing equity and accessibility for communities historically marginalized and underserved.

Cawaling, a Seattle native, brings a deeply personal understanding to his role. Witnessing firsthand the displacement of communities of color and the inequitable distribution of resources fueled his passion for this work.

This interview has been edited for length and clarity.

Dawn Dailey: Can you share the history of the Cultural Access Program and the Doors Open King County?

Manny Cawaling: The initiative emerged from a recognition by the Puget Sound Regional Council trade mission advocates, who recognized that Denver and the state of Colorado had comprehensive arts and cultural programs within their Office of Economic Development and Trade that play a vital role in community upliftment. Inspired by the successful model in Colorado, a group of King County advocates pushed for similar legislation and developmental support in Washington State.

In 2015, the Washington State Legislature established the Cultural Access Program, allowing cities and counties to implement a one tenth sales or property tax to fund non-profit arts, science, and heritage organizations. Despite initial setbacks, such as the narrow defeat of Proposition 1: Access for All in 2017 due to the tax fatigue from Sound Transit 3 and other taxing initiatives, low voter turnout, and lackluster support from the cultural sector, the Cultural Access Washington coalition recalibrated their approach.

DD: How  did you and others eventually pass Doors Open successfully?  What environmental factors and strategies improved the successful passage?

MC: Learning from King County’s ballot initiative, the Tacoma cultural advocates successfully lobbied for the passage of Tacoma Creates, which successfully integrated RCW 36.160 into local communities. We drew inspiration from Tacoma Creates — a truly city-wide approach that leaned into ensuring there were cultural programs in every community.

King County had to take a decentralized approach, because the needs of Auburn are very different from Bellevue. Inspire Washington lobbied Olympia for legislative changes, allowing local decision-making on fund distribution, which led to the creation of a more flexible and equitable bill in March 2020.

The pandemic underscored the importance of cultural programs, highlighting the need for a robust support system for arts and culture organizations. Inspire Washington, as an organization, decided to prioritize emergent viability of communities and their respective cultural organizations. Right at that moment, people needed support. The Cultural Access Program will contribute to the survivability of art and culture workers and organizations. Doors Open provides that lifeline, ensuring that the creative spirit thrives across King County.

DD: What metrics or implementation determine the success of the program?

Brian J. Carter: First, I want to acknowledge Manny Cawaling’s dedication to this program. Manny has been a relentless advocate, and thanks to his efforts, 4Culture is now operationalizing the work he started. Under his leadership and 4Culture’s leadership, the program is being implemented with the support of the entire community. I also want to recognize the vision of the King County Executive and the King County Council, without their support and recognition of the importance of our cultural sector, Doors Open would not be possible.

When Proposition 1 didn’t pass, Manny became the Executive Director of Inspire Washington, and I stepped in as the Executive Director of 4Culture. We’ve enjoyed a productive relationship based on mutually shared values rooted in clear communication and collaboration. These values include increasing accessibility to arts, culture, and science experiences as well as broadening the representation of historically marginalized communities, particularly with the readership of the International Examiner.

Regarding the impact and success metrics of Doors Open, they are indeed complex, as the legislation specifies six funding programs be created with different aims and methods to support the arts, heritage, historic preservation, and science sectors of King County. However, there are three key impacts we focus on across all six program areas:

One: Stabilizing the nonprofit cultural and science sectors. This program is crucial for providing sustained support to these sectors, which face significant challenges. We prioritize equity, long-term stability and health, with 50% of funds dedicated to unrestricted operational support.

Two: equitable representation and capacity building. We aim to ensure that the leadership, staff, and audiences of cultural organizations reflect the full diversity of King County. This includes capacity building through initiatives like the Launch Funding Program, which supports startups and small organizations, especially in underserved, underrepresented communities.

Three: Public access and engagement. We are committed to expanding public access to cultural programs, particularly for underrepresented and historically marginalized communities. This includes free and reduced-price tickets, access to field trips, and increased offerings in areas outside of Seattle. We are also focused on reaching more students and school districts, particularly those with high rates of free and reduced lunch eligibility.

While we are still refining some aspects of the program, including application processes and accountability measures, we are building these goals into every funding program. The impact of Doors Open will be seen in the increased access, representation, and cultural engagement across King County. The ultimate goal of Doors Open is to deepen and amplify the impact and access to cultural experiences for all communities across the county.

DD: Can you share with readers your personal connection to IE?

MC: I have deep ties to the Chinatown International District (CID), and our diverse Asian American Native Hawaiian Pacific Islander (AANHPI), Black, and Indigenous communities. In fact, my first professional theatre production was Miss Minidoka 1943, produced by the NW Asian American Theatre (NWAAT). I was 17 and had just graduated from high school. NWAAT was the second oldest  Asian American theater in the country and a flagship Asian American theater for the Pacific Northwest and had just opened their new home, the Theatre Off Jackson, in the heart of the CID.

I recognize that this work will be broad and game changing. We are opening doors and providing greater access for communities across King County. Every time I advocated for this, we were representing fellow AANHPI artists and organizations like the Filipino American National Historical Society (FANHS), ReAct Theatre, Pork Filled Productions, and SIS Productions, to name just a few. I’ve been embedded with AANHPI, including a five year residency with the Khmer American community in the former Rainier Vista Housing, as the Exhibit Developer/Manager for the Wing Luke Museum.

I also was a lead for Interim CDA’s Bruce Lee exhibit that occupied Uwajimaya’s original site. Additionally, I’ve served as the Managing Director for the Langston Hughes Performing Arts Center (now Institute) and the Executive Director for Youth Theatre NW.

DD: How will Doors Open benefit community organizations in South King County like Highline Heritage Museum, Seattle Escribe, and more?

MC: Highline, Escribe, and more South King County arts and culture organizations will have equitable access to the Doors Open funding streams. Highline will demonstrate concrete deliverables that were baked into the public policy. 25% of Doors Open funding must be spent outside of the city of Seattle. That is the floor and not the ceiling. That investment is the starting point, to put distribution into perspective. Right now about 500 organizations are sharing generated revenue of $3 to 5 million from 4Culture, but with Doors Open, it is $50 million dollars.

BJC: Doors Open recognizes the historical aspects of cultural communities, and recognizes that SeaTac has larger Black populations than Seattle. Doors Open enfranchises Black communities to develop hyperlocally in SeaTac, rather than travel upwards into Seattle, or southbound into Tacoma, which is better for community and family wellbeing.

Doors Open also acknowledges the presence of vibrant including but not limited to underrepresented Filipino, Korean, Khmer, and South Asian AANHPI communities in areas like Yakima, Auburn, and Lakewood, ensuring that these often-underserved populations have access to the resources and opportunities they deserve. Navigating the complexities of legal and administrative structures is a key aspect of Doors Open’s approach. The program recognizes that not all artists and organizations fit neatly into pre-defined boxes.