Hello and welcome to USITT 2015! Here's my live blog of the keynote address from Terrence Spivey! Entry music is playing now, and we're scheduled to begin at 9:30 a.m. EDT (5 minutes from now.) Until then, here's the program bio of Spivey!

Terrence Spivey, artistic director of the legendary Karamu House performing arts center in Cleveland, will give the Keynote speech to open USITT’s 55th Annual Conference & Stage Expo at 9:30 a.m. Wednesday morning, followed by the Annual Meeting conducted by USITT President Lea Asbell-Swanger.

Mr. Spivey plans to speak on The Ground On Which We Stand, a play on August Wilson’s historic The Ground on Which I Stand address to TCG 20 years ago. He will explore Karamu’s rich history and the role of theatre as a force for diversity.

9:33

Music slowing -- here we go! Jack Feivou, VP of Events, welcoming the crowd, a "group of colleagues who make the magic happen." Delivers a couple key instructions for newcomers as how to get the most out of the conference: "We're a collaborative art form -- collaborate" and "Find the team you'll work with your entire life."

Jack Introduced USITT president, Lea Asbell-Swanger, who talked about what the purpose of her position is, and what she and executive director David Grindle have done to make conference better.

Marking anniversaries:

25 years of Stage Mgmt Mentorship

20 years of YD&T Awards

Giving the Joel E Rubin Founders Award to Andi Lyons for all her work to make USITT a more welcoming place to all people and doing it with unparalleled style, strength and grace.

Lyons - "Thank you all very much. In the 25-30 years I've been involved in USITT, I've seen remarkable change in diversity and openness ... We are diversifying in so many ways. Keep up the good work."

Ellen Marie Kazel introduced Terrence.

Karamu, oldest African-American theatre in the U.S. 100 years old.

Terrence started in theatre at 8 years old playing turkey in Thanksgiving pageant at church.

While working as concierge he produced "For Colored Girls..." Distributed all the funds from the box office to cast and crew, keeping nothing for himself.

After looking for theatres to practice his acting, he started conversations with Karamu.

"He has a respect for artists, designers, technicians, communities, youth and an enthusiasm that's infectious."

And Terrence steps out and begins his speech!

Starts by thanking everyone for helping him be a speaker at this moment.

"Diversity is a state of many different forms ... Different races ... 6 years from now in 2021, we'll mark what would have been African Grove Theatre's 200th anniversary. That company catered controversy for staging Richard III. There was a German actor who broke ground, becoming 19th century great black actor -- Ira Aldridge."

Working behind the scenes was Spivey's ticket to continuous learning as he watched artists from backstage. The diversity of characters played by white actors helped him as actor.

"There are barriers that continue to haunt us all ... In the arts, there are less African-Americans in positions of set, lights and costume designers and stage managers -- at ALL levels."

So how do we create more opportunities for students of color? Spivey urges people to cross collaborate with theatres and schools of color. Black Theatre network, and more.

"It's not a one way ticket, it's not a one shot deal. It's about unity, power, sustainability"

It's not about one program in five years to get funding. It's about being true to art, artform and artist.

He thanked USITT and TCG for the consistency of their programs and scholarships for all minority students.

Telling story of Technical Director of Karamu House, Mr. Morris.

"This type of field is a hand-me-down art form. You learn by doing."

There is no fear of diversity of tech directors at Karamu House, and there shouldn't be fear in any theatre.

Karamu founded on idea that way for all races to know each other was to understand each other's culture.

That's Karamu's mission. From 1915 until now. It turns 100 in June, and has received significant money to upgrade seats and lights. The same seats in theatre from 1945 are still there. But the theatre is still operating after 100 years.

Sharing video of the history of Karamu. I'll see if I can get a copy.

Big theme of video is how all were welcome, all races were present on stage, and theatre became community center and support, not just theatre.

Langston Hughes taught art at Karamu in addition to having many of his early plays produced there.

Ron O'Neill, Ivan Dixon also alums of Karamu. Nate Burnett - first black stage manager on Broadway.

Video over, Terrence speaking again, noting the 50th anniversary of the march at Selma, and how it took radicals to affect change.

"Where are the radicals today? There's a fear in not understanding other cultures. This is our chance in the arts ... Art is the savior, the healing process. (Artists) are special people ...

50 years ago this month, the first civil rights march took place. "Now here we stand."

On March 21, 1965, on the third attempt to cross bridge, all races crossed that bridge and created a national outcry with integration of all races. "A diversified leap that epitomized the power of diversity."

"Now we need to talk about diversity on the artistic ground on which we all stand."

Spivey finishes his speech to much applause, and Lea back on stage, giving short history of Playhouse Square in Cleveland Ohio. Introducing Robert Mingus, dir of production at Playhouse Square, to receive the Thomas DeGaetani Award, which honors "an individual or organization for outstanding contributions to the performing arts in a specific region of the country."

Mingus: "Gratified to be recognized by peers who know what it takes to get the show on."

Calling business meeting to order, which means I'm going to close this up! Check out the main page for more live blogging sessions and follow me on Twitter @stagedirections.