AAAE 2017

AAAE Board of Directors Annual Meeting.

ENCATC board of directors meeting.

Festivals Edinburgh Pre-conference Workshop
Join the team from Festivals Edinburgh for a day-long intensive on festivals management. Rooted in case studies and reflections on real-world work and scenarios, the day’s agenda includes presentations and discussions in the following areas:

Business Models: Explore the concept of business models, starting with an examination of the different models through which Edinburgh’s Festivals create, deliver and capture value.

Collaboration: Learn about Edinburgh’s notions of collaborative working, the factors at work in developing and formalizing festivals collaboration, wider policy contexts and the stakeholder engagement.

Marketing/Innovation: Explore both the practices involved in taking cultural brands to market and the increasing challenges and opportunities presented by new markets and digital technologies.

Creative City: This part of the agenda places the festivals within the wider context of the city’s cultural eco-system and identifies the manner in which they seek to add value to the creative city.

Registration Required for the Festivals Edinburgh workshop. $80, includes lunch.

CLOSED SESSION FOR REPRESENTATIVES OF ARTS AND CULTURAL MANAGEMENT NETWORKS

An invited group of attendees representing arts and cultural management networks from around the globe will convene for an exploration of an international arts administration education agenda. 

This session is a cooperative effort between ENCATC and AAAE, invitation and RSVP is required.

About AAAE

The Association of Arts Administration Educators (AAAE) consists of more than 150 member programs, all training and equipping students in arts leadership, management, entrepreneurship, cultural policy, and more. The organization’s network of instructors and their alumni are the cornerstones of local arts communities across the globe. AAAE serves as a convener, a resource, and an advocate for formal arts administration education.

AAAE member institutions develop and run programs of all shapes and sizes: undergraduate to graduate, private schools to state universities, online, cohort-based, fellowship-based, and more. The organization maintains a network of program directors, scholars, and practitioners working to strengthen arts administration education. AAAE also supports its members in publishing and presenting research in arts management and administration.
www.artsadministration.org 

About ENCATC
Established in 1992 in Warsaw, ENCATC is an independent organization and the only European network in the field of cultural management and policy. Currently, it is made up of more than 100 member institutions in over 40 countries. ENCATC is an NGO in official partnership with UNESCO and an observer of the Council of Europe’s Steering Committee for Culture.

Our mission is to stimulate the development of cultural management and cultural policy education in Europe and beyond, engaging and responding to new developments in politics, economics, societies, and technology.

Our members are higher education institutions, training centers, cultural organizations, consultancies, public authorities, and artists.

Since its creation, ENCATC cooperates with the Council of Europe, UNESCO, European institutions, and the European Cultural Foundation. As results of our internationalization policy, ENCATC is also a strategic partner of the Asia-Europe Foundation, the Association of Arts Administration Educators, and the Taiwan Association of Cultural Policy Studies.

We believe cultural management and policy education, training, and research have the power to make the cultural sector stronger, resilient, and sustainable in Europe and beyond.

In 2017, the 25th ENCATC Congress on Cultural Management and Policy will be organized from 27-30 September in Brussels, Belgium. The Congress theme will focus on "Click, Connect and Collaborate! New directions in sustaining cultural networks". 

During the Congress, eminent experts from all over the world will analyze the latest research and share expertise from the field to answer questions such as: What is the real value of networks? Why are they essential? Are networks the right format to communicate and meet each other nowadays? How do we use digitalization to involve members in a network? What is the added value of joining one? How entrepreneurial are cultural networks? Which business model are they looking to develop? How sustainable are they? 

ENCATC’s Congress will be the occasion to reflect on these questions, the future role of networks in the cultural sector, and the role networks play for higher education arts administration programs. What will all this mean for the way we work, connect, and collaborate? 

The four-day event will bring participants exceptional content and programing on cultural management and policy, provide insight and knowledge from top experts, present the latest research trends, and offer exciting cultural activities and many networking moments. Each year, the Congress attracts an international audience that includes experts, academics, researchers, arts and cultural managers, artists, policy makers, students, and representatives from local, regional, and national governments.

www.encatc.org

 

We'll be having our opening night reception at the historic and beautiful Dovecot Studios, which is a swimming pool-turned-tapestry studio/gallery/event space--a textbook creative placemaking project. Spend some time at Dovecot and get a free tour from the staff there before our reception. The tour is limited to the first 20 attendees who RSVP by emailing khumphries@artsadministration.org with the subject line DOVECOT TOUR. Deadline to RSVP is May 29.

Join your colleagues for a cocktails reception at Dovecot Studios, just off the Royal Mile in Edinburgh's City Centre. The evening will feature a panel discussion from leaders of Edinburgh's creative community (details below).

Culture Planning and Collaboration in the City of Edinburgh

Edinburgh is recognized as one of the most successful cultural cities in the world – an extraordinary architectural heritage, vibrant festivals and events, significant venues and collections, and home to a diverse and inventive range of artists, creative enterprise and innovators.

What makes a culturally successful city, and how does it remain so? Whose responsibility is it? Who measures the success? What are the challenges for those involved on the ground – the artists, companies, venues, and funders, who make things happen? How does it remain relevant to those who want to participate, to learn, or enjoy? How do you balance local, national and international activity in a tight fiscal environment?

Moderated by Edinburgh's Director of Culture, this session will explore the city's cultural ecology with several arts leaders. The primary topic will be Edinburgh’s recent culture policy refresh process and systems that have been created to support artists and creatives. 

Making the Case for An Arts Degree: Using Alumni Feedback to Improve Advocacy, Pedagogy and Institutional Decision-Making
Sally Gaskill, Larry Epstein

The Strategic National Arts Alumni Project (SNAAP) has collected, analyzed, and reported on educational and career data from arts graduates of more than 300 institutions in North America. While SNAAP was not meant to be an advocacy organization, its data can inform us about employment trends and overall satisfaction of people with degrees in the arts and arts administration. This session will (1) demonstrate how SNAAP and other data can be used for advocacy for the arts in higher education, and will include information on trends in arts enrollment and the latest findings from SNAAP; (2) focus on how one institution has begun to use its SNAAP data for institutional improvement, from admissions to curriculum revision to career counseling to alumni relations.

From the Ivory Tower to the Battlefield: Early Careers of Arts Management Graduate Program Alumni
Julie Hawkins, Kathryn Heidemann

This session explores alumni data from graduate arts administration and management programs in two major metropolitan markets in the United States (Philadelphia and Pittsburgh), seeking to understand the early career paths of alumni and the relevance of their academic work to their professional experiences. Case studies of the two graduate programs will explore alumni participation in the profession in the first five to fifteen years following graduation, providing a look at how alumni progress in the field. Their readiness to work and the applicability of academic program content and training to their early career experiences will also be examined. A review of existing academic literature on the subject will help provide context for the case studies and illustrate the need for additional research in this area.

Ugh! A Group Project!
Kevin Maifeld, Patrick Kelsey, Rachel Shane, Anne Frost

From the AAAE standards, “students need to understand concepts of leadership and group dynamics in order to understand how to adapt to the ever-changing environments in which they will work.” This panel discussion will address the concept of student collaboration and group dynamics in the arts administration classroom. It will begin with a presentation of AAAE-membership wide survey results reporting on how the membership is currently utilizing group work and the related pros and cons. Additionally, an analysis will be conducted to investigate how group work leads to achievement of project goals, as well as addressing the learning outcomes which appear in course syllabi. The panelists will highlight, more specifically, how their programs approach teaching collaboration in the face-to-face and online classroom. With these case studies, the panelists will offer a cross-section of the body of knowledge related to teaching collaboration. Lastly, the panel will conclude with a discussion of how we connect theory with practice in order to lead students to “understand planning as a people-intensive, collaborative learning process” and move from being able to “describe the collaboration” process to being actively engaged students in the learning process as is described in the AAAE Graduate Standards.

The Possibility Spectrum: Increasing Diversity & Inclusion in Arts Organizations
Crystal Yingling

Many arts organizations seek to welcome diversity and increase inclusion; however, these ideals can be simpler in concept than conception. After a near extinction, Seattle’s Intiman Theatre reinvented itself with the mission to produce theater “as diverse as the community in which we live.” To reach this mission, the theatre needed to recruit and hire more diverse actors and staff while retraining existing employees in complex issues of diversity and social equity. To meet this challenge, the theatre launched the Intiman Emerging Artist Program (IEAP), a pre-professional training initiative intended to find and prepare diverse candidates to fulfill nontraditional casting and staffing opportunities in the theatre arts. Over the course of two years, IEAP has trained 53 artists (>60% women, >70% people of color, education ranging from GED to MBA/MFA, and spectrum of ethnic, religious, ability, & economic backgrounds), of which the majority are now employed in arts in cultural organizations. IEAP provides a useful case study for equitable and inclusionary recruiting and arts education programming. Concrete data and analysis over two years reveals practical actions arts organizations can take to improve diversity and increase inclusion.

Just Planning: The Marriage of Culture and City Planning
Tom Borrup, Ph. D.
This paper argues that an appreciation of culture in the anthropological sense in both cultural and urban planning practices can bring about a hybrid of Just Planning – a culturally informed approach to urban planning that promises greater civic engagement and move towards cultural, social, and economic equity. The emergence and evolution of cultural planning over the past four decades in many parts of the world has been steady but neither ascendant nor as widely impactful as scholars such as Bianchini (1999), Mercer (2006), Mills (2003), and Stevenson (2005) anticipated. Meanwhile, urban planning as practiced by towns and cities of all sizes fails to acknowledge dimensions of human culture that impact patterns of behavior, livelihood, settlement, social practice, recreation, and other activities resulting in policy choices and physical development patterns that privilege some while denying others equitable access to resources and to conduct ways of life that respect and accommodate their cultures. Two research studies, one in 1993 by Bernie Jones, another in 1994 by Craig Dreeszen, represent the only primary research on the explicit practice of cultural planning in the U.S. This paper sets the stage for new research underway with Americans for the Arts to assess the trajectory of cultural planning in the U.S. over the past 25 years. While interest among municipalities in cultural planning has not declined, scholarly research has been eclipsed by topics such as creative cities, creative economy, cultural districts, and creative placemaking, what Jamie Peck (2005) calls “urban fragments.”

Festivals Crossing Borders: Influence of the Edinburgh Fringe on North American Fringe Festivals
Xela Batchelder, Ph. D.

On this 70th anniversary of the Edinburgh Festival Fringe, I want to ask how the Edinburgh Fringe has, and has not, influenced North American fringe festival organizational and management models. The past year, 2016, also marked the 25th anniversary year of the Orlando Fringe, the longest running Fringe festival in the US, the 20th anniversary of the New York Fringe, and the 35th anniversary of the Edmonton Fringe Festival in Canada. From a management perspective, Fringe Festivals in the United States in particular exhibit a remarkable diversity in their underlying organizational structures. In my paper, I will explore this remarkable diversity and trace the influence of older, influential fringe festivals on the structures of current North American fringe festivals. This paper will concentrate in particular on the influence of the Edinburgh Fringe. My research draws on 20 years of field work in Edinburgh, including interviews and archival recordings of Edinburgh Fringe venue managers and directors, and attendance at Edinburgh Fringe Society board meetings. It also includes my own archival interviews of festival directors and managers from around the world, as well as attendance and archival notes and recordings at the first three international fringe management conferences. My research, which is particularly directed at understanding US Fringe Festivals, also draws from archival notes and recordings made at annual US Association of Fringe Festivals conferences, as well as interviews and consulting sessions with multiple US fringe festivals and Canadian fringe festivals.  My conclusion is that the structures of the original Edinburgh Festival Fringe no longer define what fringe festivals are in North America. Instead, fringe festivals in North America, and particularly in the United States, organize themselves in diverse ways while defining themselves according to remarkably elastic criterion.

Arts in Small Communities: Festivals in Provincetown, Massachusetts & Stornoway, Scotland
James C. Marchant, J.D. Ph. D.

My research focuses on how art is used to develop, strengthen and revitalize small communities that have been impacted by a decrease in industry in various forms. I am currently researching artists, the arts and arts organizations in Provincetown, Massachusetts in the United States and in the Outer Hebrides of Scotland. The arts play an important role in both areas and have done so formally in Provincetown since the early part of the 20th century and formally in the Outer Hebrides since the 1980’s (outside of the production of Harris Tweed). This paper is a part of that continuing, larger research project.
In this paper, I investigate, examine, analyze, and compare how the Provincetown International Film Festival and the Hebridean Celtic Festival affect the small communities of Provincetown, Massachusetts, United States and Stornoway, Scotland. My methodology is a multiple case study with auto-ethnographic aspects as I volunteered extensively with both organizations as a part of my research. I also relied heavily on formal and informal qualitative interviews with paid staff, paid contractors, board members, volunteers, artists and audience members as well as reviews of financial documentation and public materials used in managing, funding, marketing and operating each festival.
Although the arts have held a role in both communities for a longer period of time, the Provincetown International Film Festival and the Hebridean Celtic Festival were both founded in the late 1990’s and have each grown significantly since then in terms of budget, production value and audience size. Both organizations rely heavily on volunteers and bring in large numbers of tourists to the areas. Each festival engages the local communities to a significant degree, but they also bring in significant numbers of tourists and artists from around the world. Although both organizations also have significant differences, both organizations have positively affected their communities.

Chair: Dr. Anthony Schrag

“Everyone was dancing” – Exploring perceptions of live music promoters’ in Malta on their practices as cultural producers and intermediaries
Adrian Debattista

This paper investigates the contemporary phenomenon of live music promotion within its real life context. Through the lens of live music promoters in Malta the practice of live music promotion was explored while taking into account structural factors that contribute towards their practices.

The role of Workspace/Arts-laboratory in fostering cultural and creative development in Belgium: The development of the performing arts sector in Flanders
Carlotta Scioldo

Grounding on the consideration of creative economy as a “bifurcated structure1” composed, on one hand, by main official institutions and, on the other, by a large number of NGO’s, self- employed and freelancer offers a framework through which to look at the performing arts field.  Moreover the creative workforce of such a field is featured by “unstable working conditions2”.  A case where these concerns have been successfully tackled is the one of Belgium. The performing arts field, strongly developed from the 1980's, is nowadays known as “the Flemish miracle. This points not only the density of artistic quality, but also the specific architecture of the landscape [policy] in which it originates3”.  On that basis, the case of Flanders represents the ideal starting point to unfold the structural and economic
features that lead the performing arts sector to a sustainable condition while increasing the attractiveness of the Brussels-Capital Region.
Footnotes:
1. Hutton, Pratt, Reconceptualising the relationship between creative economy and the city: learning from the financial crisis, CITIES 33, 2013.
2. ILO REPORT on employment in the media and cultural industries, 2014, pg. 8
3. Performing Arts Flanders, Transformers, Landscape sketch for the performing arts from flanders and beyond, Vlaams Theater Instituut, Brussels, 2014, pg. 21.
Philanthropic Attitudes: Navigating Philosophical Differences Between Bermuda
and the United States While Rehabilitating an Organization
Alicia M. Goodman

A struggling organization extends an invitation to go to a foreign country and help the
organization become healthy again. However, after arrival shock is experienced when attitudes toward philanthropy are different than what an American higher education program is built on. How does one balance fundamentals of education against the very different actualities of life? Beyond that, how does one work to rehabilitate an organization when there is a fundamental difference of philanthropy?
This paper, based on a current project, is an interdisciplinary examination of a struggling nonprofit theatre company through the lens of arts administration and business. This is a balancing act of financial rehabilitation while still remaining true to the charity/theatre organization. This paper examines two areas: first, tools used to diagnose issues of an organization, such as Patrick Leoncini’s The Five Dysfunctions of a Team assessment, that fit the bridge of business and nonprofit. Second, this paper will also examine the differences of attitudes of philanthropy between Bermuda and the United States and explores what each country may learn from the other in regards to these attitudes.

Chair: Ursula Kuhar

International Internships: Nightmare or Nirvana
Rose Ginther, Anne Frost, Teresa Gregory

International internships provide students with undeniable benefits, immersing them into a different culture and allowing them to explore arts management through a new lens. However faculty and staff working to arrange these internships often struggle with finding suitable international internships and with supervising students at a distance. This conference session will explore recent research on internship practices in existing arts management education programs and will offer an opportunity to discuss issues inherent in the administration of these internships including language barriers, safety concerns, virtual monitoring and crisis management while exploring solutions that can lead to smoother cross border experiences for students.

Moving Toward Cultural Equity and Inclusion in the Field
Laura Zucker

The LA County Arts Commission undertook an initiative to determine how best to increase cultural equity and inclusion for staffs, artists, boards, programming, audiences of arts organizations and presented a final report with actionable recommendations in April 2017. Using the process and findings of this initiative during the first 40 minutes, the session will provide a framework for participants to develop strategies to increase the diversity of their student bodies, or address another topic of interest regarding cultural equity, in the remaining 50 minutes. This session will set the stage by briefly reviewing the comprehensive series of strategies used to conduct the Cultural Equity and Inclusion Initiative (CEII), which included: assembling an advisory committee, town hall meetings, working groups that honed ideas that emerged through the town hall process into recommendations, opportunities for the public to share their ideas anonymously, through an artist-led project, a literature review and data collection that showed the current state of knowledge and conditions in the field, and input from other LA County cultural institutions as well as arts funders. Through this process, 13 actionable recommendations to improve cultural equity and inclusion in the arts emerged. The session will unpack those recommendations, with particularly emphasis on those intended to improve the pipeline for arts administrators. In interactive segments, session participants will be asked to identify the barriers within their institutions to improving the diversity of their student body, or address another topic of interest regarding cultural equity, and develop ideas that will move them toward this vision.

Federal Arts Policy 1957 – 2014. The Rhetoric & The Reality
Duncan Low

This dissertation is concerned with the question: what evidence exists to support the claim that 21st century Canadian arts policy is delivering the support necessary to maintain and build avigorous and sustainable professional arts sector?

“Sticking a name on something”: Resolving the Conceptual Ambiguity of Audience Development
Steven Hadley

Audience Development embodies the aspiration of cultural policy to deliver a different material reality in the consumption of the publicly funded arts. Such a moral imperative is implicit in any system of public cultural subsidy operating in a modern liberal democracy. This paper provides an understanding of how the conceptually ambiguous term of Audience Development became a normative practice in the cultural sector.

Towards constructing Asian model of arts support –– Comparative study of arts support system with a focus on non-institutional actors
Mio Yachita

When a country tries to form a new cultural policy, or to construct a system to support arts, we often compare the strategies of other countries. When the arts management was first introduced to higher education in Japan in the 1990s, numbers of comparative studies has been made with western countries such as the United Sates, Europe and Australia. Almost three decades later, arts managers in Japan are now looking towards Asia. Dynamic and rapid growth of China and South Korea goes without saying: years of exchange contributed not only to the academic studies, but to the creation itself while building networks of experts.

Session Chair: Brann Wry 

Cultural Data Systems in the United States: A Brief History and Appraisal
Douglas DeNatale, Ph.D.

During the past 25 years, technological and conceptual advances in data science have provided new approaches to understanding complex systems in various domains. While arts organizations and agencies in the U.S. have been slower than some sectors to adopt new technologies, they have increasingly employed ever more sophisticated vendor systems within their business practices. During this period, public agencies and foundations have sought more reliable data on arts organizations’ activities, and have promoted a variety of new data collection efforts. As the work of cultural organizations has been reconsidered within a creative industries framework and the importance of the arts in placemaking has gained recognition, arts leaders have become increasingly willing to consider and promote their work within a larger social ecology.
The need for reliable, comprehensive data on the work of U.S. arts organizations within their communities to support the development of effective public policy is evident, and significant advances have been made in this direction. While the potential of data to illuminate the role of the arts and inform policy is widely appreciated, the effects of longstanding habits of thought and practical barriers to collaboration remain to be addressed.

Getting on the Map: Developing Learning Outcomes for New Tools and Data Sources
Neville Vakharia

With the rapid growth of online analytical tools and data sources relevant to the arts and cultural sector, new skills and methods of teaching are needed. The ability to make informed decisions using an array of new and emerging analysis tools is no longer a research skill but a leadership skill. As educators, how do we ensure students are entering the field with a working knowledge of these tools combined with the skills to use them strategically? How do we include the use of these tools as part of our coursework and curricula? In this interactive session and group discussion, new and emerging geospatial cultural mapping/research tools and data sources will be shared and discussed from the perspective of their potential for usage in the classroom. Participants will engage in discussions on how these tools can be linked to specific learning outcomes and understand how to incorporate a range of tools and data into arts administration courses and coursework. Ideally, this facilitated group discussion will lead to preliminary consensus on the role of these tools and associated learning outcomes that educators can seek to achieve.

Parallel Tracks Approaching the Same Station: The “Arts Entrepreneurship” and “Cultural Entrepreneurship” Constructs in US and European Higher Education 
Linda Essig

Expanding on a paper presented at the most recent ENCAT conference, and using new data recently gathered by the authors about US arts entrepreneurship education, this paper asks: how has ‘arts entrepreneurship’ developed as an academic field of education and inquiry in the US and in what ways is it the same or different from ‘cultural entrepreneurship’ as it is conceived of in Europe and Australia. ‘Cultural Entrepreneurship,’ especially as conceived of in the European context, seems to have matured both earlier and on a somewhat different but parallel track from ‘arts entrepreneurship.’ As Kuhlke, Schramme, and Kooyman (2015) note, “In Europe, courses began to emerge in the late 1980s and early 1990s…primarily providing an
established business school education with an industry-specific focus on the new and emerging creative economy.” Conversely, the development of “arts entrepreneurship” courses and programs in the US seem to have been driven as much or more from interest within arts disciplines or even from within the career services units of arts conservatories as a means toward supporting artist self-sufficiency and career self-management This paper looks at the parallel conceptual development of “arts entrepreneurship” in the US as differentiated from “cultural entrepreneurship” in Europe and elsewhere, the ways in which the two fields are converging or not, and draws on new data about the US landscape of arts entrepreneurship education to consider where the field may be heading.

The Changing Nature of Doctoral Education in Arts Management and Cultural Policy in the US and Europe
Richard Maloney, Lluis Bonet, Francois Colbert, Gerald Lidstone

In light of the unique opportunity presented by the 2017 AAAE conference to utilize a comparative approach to discuss topics of interest, I am proposing a session that examines the changing nature of doctoral education in cultural management and cultural policy from two perspectives: the US and Europe. Keeping in mind the ongoing demographic and technological revolution in higher education, the panel will discuss two specific areas of concern: 1) pedagogical issues -- are we teaching the "right" topics?; have we recently changed how we teach our students? -- and 2) structural concerns -- are our programs properly organized to meet the needs of today’s students?; has the emergence of "nontraditional" education models (professional doctorates, online learning, and "executive style" education) impacted how we run our programs?; are we adequately preparing our students for the realities of the job market?. Europe will be represented by: Lluis Bonet (University of Barcelona), Francois Colbert (HEC), and Gerald Lidstone (Goldsmiths -- University of London) while the US will be represented by Margaret Wyzsomirski (Ohio State University) and the moderator Richard Maloney (New York University). Each panelist will make a 7-10-minute opening statement describing some of the recent challenges they have experienced in their respective programs. Following this, the moderator will ask a series of questions that address specific pedagogical and structural concerns and ask each panelist to respond. Following this, questions will be taken from the audience and the panelists will respond. If time allows, the audience will be divided into small groups to discuss a question posed by the moderator. The groups will state their findings to the panel and the panelists will respond. By comparing best practices in doctoral education from both sides of the Atlantic, my hope is that session participants will be informed and energized and will return home with new ideas to discuss with their colleagues.

Where public art, gamification and technology meet community: a case study in audience development and arts management practice
David S. Guion, Ph.D., Janet Cooper

In this presentation, participants will engage in reflective practice based on a case study of Dublin Arts Council’s (Dublin, Ohio, USA) Riverboxes program, an engaging cross-generational project modeled after geocaching and letterboxing that utilizes gamification, technology and site-specific public art to address community participation in unexpected ways. Conference participants will be able to apply the case study to inform pedagogy, identifying new pathways for audience engagement through art using an innovative practice model. The case study provides in-depth exploration of the development of this unique project from concept to execution, including participation and success measurement, new technology applications and programmatic expansion. Dublin Arts Council's Riverboxes program delivers more than 20,000 interactions annually. As the program approaches its 10th anniversary in 2017, it provides an excellent model for program development and administrative practice. The project provides novel public/private partnership opportunities through unique grant sourcing and unexpected collaborations with artists, government entities and other nonprofit organizations. Program developments include a novel stewards program that reduces artwork maintenance costs, and a unique guided water trail tour by kayak that provides an unexpected portal to the collection and earned revenue for the program. The Riverboxes program has garnered multiple awards, from excellence in public parks programming to innovative use of technology in advancing mission. The program was featured as a best practice workshop at the 2015 Cities in a Climate of Change: International Award for Public Art exhibition and conference in Auckland, New Zealand.

Lights On! Exploring new participatory methods in cultural heritage management
Pekka Vartiainen, Nina Luostarine

"Lights On!" is a workshop where the audience will receive information on participatory methods used in the field of cultural heritage and tourism. The starting point for the workshop will be a specific case study on an international project around the Baltic Sea Region, but the workshop will then turn its focus on testing and analyzing creative methods (mobile technology, gaming, live-action role play, augmented reality, and light-painting) that are a part of the crowdsourcing models. Through the use of participatory methods the workshop will gather information on participants’ personal and professional experiences and use them as a basis for a final discussion.

Gender Gap in Citations: Unconscious Gender Bias in Arts Administration Scholarship
Yuha Jung, Jill Schinberg

Gender inequity is still a major issue in the United States and other parts of the world, and academia is no exception. Academic environments tend to be more favorable toward male scholars than female scholars and it is a more systemic than sporadic issue. The American Association of University Professors cites unique challenges that women academics face, such as inequities in salary and promotion rates, sexual
harassment, and discriminatory treatment. Often unfair policies and challenges are rather invisible and unconscious.

The Dangerous Eurocentrism of European Arts Management
Prof. Dr. Raphaela Henze

The research to be presented seeks to develop greater understanding of the impacts of globalization, digitalization, and (im)migration on the work of arts managers and arts management researchers. Different from studies that focus specifically on those that work exclusively in international contexts this paper aims to present current research that is based on an empirical study of 352 arts managers in 45 countries around the world who do not necessarily cross borders for their work. Anyhow, they are in many and different ways affected by globalization.

Teaching Social Justice Through Service Learning in Arts Administration: Does it work?
Antonio C. Cuyler, Ph.D.

This study investigates the research question: Is service learning in Arts Management an effective approach to teach about social justice issues? I used Rice and Horn’s (2014) conceptual model to develop the methodology which includes surveying the 33 graduate students who have taken my Arts in Community Engagement course. The conclusions include an analysis of students’ demographics, as well as their assessment of if and how service learning improved their knowledge of social justice issues in the arts. This paper presentation fits well within three areas: Pedagogy Research Methods and Application, Diversity, Equity, and Social Justice in the Arts, and Reflective Practice because I use survey methodology to rigorously reflect on a practice I have used to promote innovative teaching & learning in Arts Management. This presentation also addresses the conference theme, New Places, Spaces, and Faces: Exploring Possibilities and Crossing Borders, because no known research in Arts Management has investigated the efficacy of using service learning to teach about social justice issues in the arts.

Session Chair: Susan Badger Booth

AAAE has secured reservations at more

QMU has arranged for AAAE delegates to meeting with cultural leaders at some of Edinburgh's premier arts venues. Sign up at the conference registration table when you arrive!

All site visit groups will meet at the Motel One and proceed to their location together with a local guide.

Summerhall: https://www.summerhall.co.uk/

Summerhall, located in the former Royal (Dick) School of Veterinary Studies in Edinburgh, is open to the public all year round and hosts events in all the City’s major festivals, including the Science and Fringe festivals. 

Visitors to Edinburgh’s newest and biggest arts venue will find theatre and gallery spaces, libraries and small museums, educational and research programmes, studios and workshops, as well as creative industries offices on site. 

It’s a new kind of community: a cross-cultural village where arts and sciences talk to each other, where high-tech rubs shoulders with all the arts including film and television, and a craft brewer has revived a three hundred year old tradition of brewing on the site.

For your visit, you will meet Sam Gough - General Manager, and Tom Forster - Festival Programme Co-ordinator. You will be introduced to the building, how it was set up, why and then taken on a tour of all of the wonderful and unique spaces.


Stills: http://www.stills.org/

Stills is a centre for photography based in the heart of Edinburgh. Founded in 1977, we are a registered charity with the mission to provide support and opportunity for the  advancement, discovery, enjoyment, exploration and understanding of photography. Our work is the delivery of exhibitions and creative learning activities and the provision of courses and photography production facilities. Stills is the only photography gallery in Edinburgh and we play a key strategic role within the visual arts sector in the UK. Each year we  present a balanced programme of 4 gallery exhibitions to celebrate photography’s history, showcase the best practice from around the world and support exciting and innovative new  talent.  We provide courses on subjects such as darkroom photography, Digital SLR photography and Photoshop, for public audiences of all abilities and our darkrooms and digital  production facilities are open 7 days per week.

For your visit, Ben Harman, Director and Curator of exhibitions at Stills, will introduce the organisation and provide a short tour of the current exhibition: Ambit: Photographies from Scotland.


Creative Scotland: http://www.creativescotland.com/ 

Creative Scotland is the public body that supports the arts, screen and creative industries across all parts of Scotland on behalf of everyone who lives, works or visits here. Join us for this visit to the Creative Scotland HQ to hear about the challenges and aspirations for Scotland’s creative industries – about partnerships and alignments across the public and private sectors, the development of evidence for effective policy, and how we try and help good stuff happen.

For your visit,  with Clive Gillman, Director of Creative Industries, will give a presentation on how Creative Scotland is supporting the growth of Scotland’s Creative Industries.

Kings and Festival Theatres: http://www.edtheatres.com/about

Festival City Theatres Trust is the largest not-for-profit independent theatre management in Scotland.  It manages three touring venues: the King’s Theatre, the Festival Theatre and The Studio (an extension to the Festival Theatre).  The King’s (1,300 seats) is a traditional proscenium arch theatre built in 1906 and stages mostly number 1 touring drama, as well as hosting some local amateur dramatic organisations and the hugely successful annual Pantomime.  The Festival Theatre (1,900 seats) underwent a major refurbishment in 1994; it stages predominantly lyric work, opera, ballet, dance and musicals, but is also the largest cinema in the UK.  All of our stages host work from a number of Edinburgh’s festivals, including our Studio (160 seats), a recent addition to the portfolio built in 2013, which also acts as a rehearsal and learning space.

There are two options for your trip to Festival City Theatre Trust:

You can choose to visit the Festival Theatre  which will include a short tour of the theatre and where you will meet Cerin Richardson, Head of Creativity and Diversity, who will talk about how we programme our venues according to which product will best fit which stage and, in the context of other venues in the city, how we compete for the market in a small conurbation.  

You can choose to visit the King’s Theatre which will include a short tour if the theatre and where you will meet Duncan Hendry, Chief Executive, who will talk about how we are achieving our aim to become dementia friendly venues and how we stage relaxed performances for children with sometimes challenging multiple-disabilities.

 

Edinburgh Art Festival: https://edinburghartfestival.com/

Edinburgh Art Festival (EAF) is the UK’s largest annual festival of visual art, and a leading international platform for supporting the development, production and presentation of ambitious new work by Scottish artists. Each year, we work in partnership with Scotland’s visual arts sector, to present a rich and varied programme of exhibitions, publicly-sited commissions and events, the vast majority of which is free at the point of access. We are committed to sharing the very best visual art with audiences, locally, nationally and internationally; and to finding ways to present ambitious and challenging programme in a manner which appealing and accessible to general audiences. Partnership is at the core of our festival model, and critical to the development and delivery of our ambitions.

Your visit to their offices will provided an opportunity to hear from the director of EAF, Sorcha Carey.  Her talk will focus on festival programming in a UNESCO World Heritage site and will explore the unique challenges and opportunities presented by programming contemporary art in a city renowned for its historical significance. Her talk will also look at how EAF commission invite artists to explore and transform the city, offering a very special backdrop for artists to experiment and develop ambitious new projects.

 

What does it mean to be an arts administrator, and an arts administration educator, in this new era? Is it enough to be a skilled marketing manager of a local chamber orchestra or mainstream (i.e. not challenging) theatre company, or is more required of all of us as artists and arts administrators? If as Shelley said, artists are the unacknowledged legislators of the world, what does that mean for our curricula and how will and should we as artists, administrators, and arts administration educators, handle the shock of the Internet’s alteration of what performance, publication, exhibition and audience mean, while the fundamental questions of what it means to be a modern society are now so urgently and shockingly put before us

Arts and Social Change, A Must: Part 2, How To: Content and Pedagogy for Arts Management Programs
Leonie Hodkevitch, Morenga Hunt

A global array of societal factors has prompted increased conversations about identity and community based on diversity, equity, and justice. The expectation that cultural projects should and can contribute to social justice through diversity, inclusion and equity has long gone beyond social projects and concerns a wide variety of art and cultural projects. Within this context, artists, arts administrators, and cultural workers around the globe are engaging more deeply to assist in addressing these urgent challenges. Forward looking arts administration educators and managers are having new discussions about the role of arts and culture in addressing issues of social justice, community cohesion, inclusion, and civic engagement. The panel will explore options for content and pedagogy, theories, practices, and models for programs. A group exercise and wrap-up discussion consider concepts and strategies that participants can apply in arts administration courses. By the end of this session, attendees will: (1) consider policies, strategies, and practices for inclusion of diversity and social justice content within arts administration curriculum; (2) add pedagogical strategies for inclusion of diversity and social justice content, (3) identify benefits and challenges of making these curriculum content changes, (4) share relevant diversity and social justice content in their own Arts Administration programs. (5) connect to other colleagues dedicated to this field.

Overtaken by Events: Why do North American communities keep building performing arts centers for artforms that cannot sustain them?
Jim O'Connell

North America has experienced four booms in the construction of performance spaces. The 1880s brought Opera Houses; the 1920s, Movie Palaces. The 1960s placed Performing Arts Centers in cities and on campuses. In the first decade of the 2000s, a surge of construction/renovation sited performance facilities in struggling downtowns and connected them to public schools.

Two things are striking about these continent-wide booms: The regularity of the cycle (1880s, 1920s, 1960s, 2000s: every forty years!) and the fact that, in each case, the primary artform for which the new performance spaces were designed was in decline even as new facilities were constructed. Vaudeville began to be overtaken by silent film in the mid-1890s. Silent film was eclipsed by talkies starting in 1927. Symphony Orchestras and other non-profit tenants of performing arts centers yielded financial primacy to touring Broadway shows by the 1980s. And the publically-traded entertainment behemoth Live Nation was forced to sell its Broadway Across America subsidiary in January 2008 due to the inconsistent profitability of theatrical tours.

The question then is Why? If they wish to host currently popular artforms, communities must upgrade or replace venues that are no longer up to the task.  But why does that renovation/construction take place so late in the life-cycle of each successive artform?

Drawing from such studies as Joseph Golden's Olympus on Main Street (1980), Set in Stone by the University of Chicago's Cultural Policy Center (2012) and Building for the Arts by Peter Frumkin and Ana Kolendo (2014), I examine the process of cultural building booms. With the guidance of such works as Mary P. Ryan’s Civic Wars (1997), Deyan Sudjic’s The Edifice Complex (2005) and Robert Gordon’s The Rise and Fall of American Growth (2016), I attempt to place each one in historical, psychological, cultural and political context.

I argue that, although trends in popular culture, aesthetics and advances in technology spur the need for new/renewed venues, the timing of construction surges depends more upon advances in building materials, construction and fire codes; changes in transportation and residential patterns; civic pride, and generational transfers of wealth and power. I will conclude with an effort to identify trends that may shape a fifth performance building boom, a quarter-century from now.

Body & Soul: Combining Slow Food successes and Music Cities metrics to invigorate the sustainability of music and the performing arts
Catherine Moore

The hypothesis for this paper is this: "A music-centred initiative explicitly modeled on the Slow Food movement and using sustainability metrics from the Music Cities research base will counterbalance Baumol's "cost-disease" problem and expand opportunities for performing arts organizations."

To examine the hypothesis, this paper brings together (a) comparative analysis of the Slow Food movement (founded in 1986), with a focus on multi-national localization, grass-roots communications networks, and success in changing long-standing consumption habits and production protocols; (b) research and theoretical frameworks recently developed by the multi-national Music Cities initiative; (c) a re-examination of economist William Baumol's "cost-disease" concept (first published in 1966) and new models for measuring labour productivity; (d) an assessment of new ways to measure success in the nightclub industry and the ways that artistic creators either affirm or negate a sense of place; and (e) a case study on music and arts initiatives in the city of Glasgow, Scotland, with a focus on funding models, results measurement, and the city's explicit prioritization of the arts as a contributor to a sustainable city.

It's important to note that in applying the Slow Food ethos to music and the performing arts, the word "slow" does not mean soft, bland, simple, or slow-paced. Instead "slow" connotes taking the time to savour complexity, to be enriched by repetition and variation, to value and enjoy listening. The idiom "keeping body and soul together" inspires the title of this paper because it resonates so deeply with the health of people and cities through the arts.

The results of this investigation will test the hypothesis; create new ways for arts organizations to measure and communicate value; and be relevant pedagogically by illustrating how a practical framework can anchor teaching about start-ups and value creation.

Sustainability and Culture: Innovations and Best practices
Dee Boyle-Clapp, Ben Twist, Ian Garrett

The Center for Sustainable Practice in the Arts defines sustainability as the intersection of environmental balance, socialequity, economic stability and a strengthened cultural infrastructure. This workshop will discuss how to cohesively connect arts management with climate concerns, economic opportunity, and trimming an institutional bottom line. Featuring three arts leaders from three countries, this workshop will showcase the smart sustainability practices of arts organizations; innovations exemplified by the Edinburgh Fringe Sustainable Practice Award winners; case study highlights from three countries. Breakout exercises will help attendees integrate sustainable practice topic in their curricula, including how to create alliances, reward and recognize green innovations, and promote efforts to build community and donor support.

Creative Vacuums Suck: Using Problem-Posing to Connect Diverse Identities in Arts Education & Outreach
S. Rebeqa Rivers 

Who selects which established knowledge from history to use in arts education and outreach? Culturally biased definitions of quality and established knowledge produce a creative vacuum and prohibit artistic diversity. Additionally, traditional approaches to education and outreach can propagate historic systems of oppression and bias, leaving many voices missing or minimized in mainstream arts conversations. Consequently, many people do not see their identities reflected in the arts or feel empowered to participate. This session explores collaborative, problem-posing approaches to arts education and outreach that challenge political patterns of exclusion. Problem-posing generates dialogue and requires us to examine the relevance of established knowledge against a range of diverse identities. This session will also examine successful examples of problem-posing arts education and outreach. By cultivating responsive conversation, arts education and outreach can move away from the creative vacuum of culturally biased knowledge to enfranchise a more equitable, vibrant, and global community.

Enabling Change, Encouraging Challenge
Ellen Rosewall 

Today's arts managers are facing the same challenges as many other industries - the emergence of new audience participation patterns, fluid organizational structures, and changing social norms. On her recent sabbatical, Ellen Rosewall visited with organizations around the country who are innovating, and used these conversations as a base for research on how the arts are developing new programs, new structures, and new ways of participation in the arts. This session will explore some ways we can work with our students to engage them in the task of rethinking the arts for 21st century arts and audiences. (Spoiler alert: it does not involve lowering artistic quality)

Roar of the Crowd: Alternative Funding Models - International Insights and Teaching Applications
Monika Herzig, Lidia Varbanova, Amanda Nelson

Alternative financing models are on the rise and according to a recent study (Mollick & Kukuswamy, 2014) on Kickstarter, not only created 5.3 Billion in project support and more than 500,000 jobs over three years but also helped creators advance careers (37%), increase annual income after running the campaign (21%), and facilitate new job opportunities (19%). This session will discuss the principles of crowdfunding - reward-based, donations, and equity - the pros and cons of the most popular platforms, fixed versus flexible campaigns, legal issues with equity funding, and international comparisons of platforms, strategies, and perceptions. Furthermore, panelists will present their case studies from leading four arts campaigns (Monika Herzig), trends and challenges in different countries (Lidia Varbanova based on her 2016 Routledge publication: International Entrepreneurship in the Arts), and teaching applications (Amanda Nelson).

Where Theory and Practice Converge: Bridging Arts Management Education and the Creative Industries
Mary Filice, Bob Blandford

This session will explore the value of experiential learning with industry partners as an effective approach to educating future entrepreneurs, leaders, and managers within the creative industries. Experiential learning is a key component of a fully-realized education and is the bridge that connects classroom learning with current real world practices.

We investigate this using several examples: Startup Weekend for Creative Enterprises powered by Google for Entrepreneurs, a global initiative that exists in over 135 countries; Global Marketing: Prague, an immersive study abroad experience where students work at FCB/Prague; and Chicago’s Wabash Arts Corridor, a civic, business, artist, and college collaboration.

We will use these examples to frame a conversation in which we can all share diverse perspectives and experiences to further experiential learning and creative industry partnerships.

Cultural Leadership in an Age of Anxiety
David Edelman, Jonathan Price, Sanja Petricic

We are living in a time of major political upheaval and accompanying anxiety. Populist leaders, new forms of nationalism, divisive rhetoric and economic instability have combined to sweep away old certainties and undermine the institutions that represent them and the West has been shaken more dramatically than at any time since the second World War. Liberal values, meanwhile, seem to be everywhere in retreat; expertise is a devalued currency and so, it seems, is truth. It is for this environment that our artists, creative entrepreneurs and cultural leaders must be equipped by the education and training that we provide. But in this unfamiliar world, what forms of knowledge should we share? Are we at risk of providing training that meets only yesterday’s challenges? Or should the political events of the world be shut out of the classroom as distractions from our cultural concerns? This panel will bring recent research and theory around artistic and cultural leadership to bear on these and related questions. It promises a timely debate about the relationship of culture, politics and education at a moment when educational institutions and their staff are frequently pressed to avoid the adoption of overtly political positions while our students feel increasingly unsure and vulnerable. We will ask whether culture can ever be separated from the political, or politics kept out of education, when it can be argued that to devote your life or the resources of your community to education and the arts is already a political act. But can art be politically relevant without being politically determined? What forms of understanding or action are necessary for cultural producers to have intellectual and creative autonomy? We will consider what it means to be a cultural leader in circumstances where the values according to which you work are under attack, and what the implications are for how cultural leadership should be taught and developed. The presentation will include ample time for discussion with session attendees.

Cultural Governance and Global Contexts
Annick Schramme, Ian W. King

The current trend for revising the manner of financial support globally is placing increasing pressure and thereby scrutiny on the quality and effectiveness of strategic decision-making and management practices in the arts and cultural sector.
The pressure to maximise the quality of practice in this sector is increasing and therefore develop optimal practice is a global priority. So, in these circumstances, we want to maximise our understandings of cultural governance worldwide.

The resulting research questions that emerged include the following: If these are the dominant locations – does this suggest that globally our understanding of Cultural Governance is dominated by a ‘one-size’ fits all mentality? Thereby leading to the inevitable consequence – is this in the best interest of the arts and cultural institutions across the globe?

Shifts in How we Produce Cultural Activities and Create New Spaces: Comparison Between Spanish and US Case Studies
Dr. Elena SV Flys

A current topic of concern for the Arts Manager is that of Audience Engagement. Many studies support the idea that changes in performing arts consumption are taking place, and that audience members are searching for a new way of interacting with the arts. Perhaps in a country like Spain, the tax rise for cultural activities triggered the emergence of new and unconventional scenic spaces. However, the appearance of off-off-theater or site specific performances has also occurred in areas of United States. Possibly, what is changing is not only where audience members encounter art, but also the way people consume cultural activities.

Across the Pond: trends in international cultural relations and engagement by US and UK arts and cultural organizations
Aimee Fullman, Carla Figueira

The aim of this paper is to provide an insight into the current practices, challenges and opportunities for US and UK arts organizations engaged in international cultural relations that illuminates the changing human capital needs of the labour markets in this area. Our research is based on a survey of UK and US organizations engaged in international cultural exchanges and arts programming. Outcomes will allow us to discuss key competencies needed within organizations and gaps of knowledge that could be addressed by future arts and cultural management higher education programs.


Session Chair: Alan Salzenstein

Shona McCarthy will take us on an illustrated journey of her work as cultural leader in Northern Ireland during times of conflict and peace and the vital role that culture and arts played in both her professional and personal journey. From Belfast to Derry via India, Jordan, Indonesia, the US and many other places besides, she will take us to her current role at the helm of the Edinburgh Festival Fringe Society, the organization that underpins the world’s largest Arts Festival. The Edinburgh Festival Fringe celebrates its 70th anniversary this year, what are the challenges and opportunities for an arts festival in the local and global context of 2017?

Does Curating Have a Role in the Arts Administration Curriculum?
Sandra Lang

Often so much emphasis is placed on acquiring business and technical skills in arts administration programs that the art form is overlooked. The arts manager should know his or her discipline, but to what degree should that be a part of the curriculum? In the visual arts field, knowledge of curatorial history, methods for interpreting exhibitions, and installation and display techniques are essential. Given the nature of arts organizations today, - how their cultural roles have changed, the importance of public engagement, the influence of technology and the impact of globalization, - understanding the variety of exhibition types and the process of organizing visual presentations is an important component for any emerging visual arts manager. Comprehension of the curatorial context behind an art exhibition, be it in a museum, gallery, biennial, art fair, or alternative space, is achieved through studying the theory and practice of making exhibitions and developing critical assessment skills. This presentation explores how the role of the curator can be addressed in the visual arts administration curriculum.

Bill T. Jones & The Creative Proposition
George Sampson

Artists in Residence programs are an important method by which students of Arts Administration at the University of Virginia advance this year’s conference theme of New Places, Spaces and Faces: Exploring Possibilities and Crossing Borders. I propose to lead a session that will illustrate UVA’s transdisciplinary approach to arts administration through a discussion and film screening of an extended artist residency with two-time TONY awardee and MacArthur “Genius” Fellow, choreographer Bill T. Jones. The film is a 28-minute PBS-broadcast film by Kartemquin Films called The Creative Proposition. The film, unavailable online, tells the story of a week-long residency in 2008 which crossed the borders of UVA’s campus by assembling a company of 90 students and community members who joined the 10 professionals. At Bill’s request, the company was diverse by gender, race, age, dance experience and town/gown affiliation. Bill was thus able to try out choreographic ideas for what became his 2009 piece Fondly Do We Hope... Fervently Do We Pray, created for the 200th anniversary of the birth of Abraham Lincoln, commissioned by the Ravinia Festival in Chicago, Il. Kartemquin Films was part of the commission and the film is an inside look at the intense, 3-day creative process by which Bill and the troupe created 100 Migrations, a locally-staged re-creation of the Civil War in dance. In the Southern town of Charlottesville, Virginia, ten days after the election of Barack Obama as 44th President of the U.S., this was an incredibly powerful experience and the first half of the film captures it well. The film’s second half continues the story of UVA’s involvement with the Bill T. Jones/Arnie Zane Dance Company over three visits in 2011, when Bill and Company developed and rehearsed a subsequent work called Story/Time. A product of the vision of then Vice Provost for the Arts Beth Turner, these return visits illustrate how broader institutional goals/outcomes can grow from one residency. Outcomes included the engagement of a UVA music professor as composer for Story/Time, the power of Bill’s studio visits with architecture, engineering and art students, in dialogue with medical students & employees, with the Board of UVA’s Art Museum and elsewhere. The discussion session following the screening will align and extend the conference and the film’s mutual themes of crossing borders to explore possibilities and utilize new places, spaces and faces.

Students as Entrepreneurs
Adrian De La Court, Siân Prime

Goldsmiths Institute for Creative and Cultural Entrepreneurship (ICCE) has developed a credit-bearing and non-credit bearing model for all students, from undergraduates to postgraduate research students, that reflects the shift that is needed in the development of students’ skills in relation to employability, particularly their critical reflective capabilities to that they are able to enhance their ability to self-manage their future prospects and contribute as intrepreneurs or create their own employment in a dynamic employment market. The arts in particular confront enormous challenges and disruptions from technology, government policy shifts and audiences’ demands and the pulls on their time. ICCE has developed approaches for students to learn how to navigate and contribute to the cultural sector and cultivate the entrepreneurial capacity of organisations they move on to work in or with. We encourage and equip students to be able to analyse business models as well as generate new revenue streams. This approach has been tested with students from over 36 different countries, and uses the diversity of thinking of our cohort to consider the potential of diversity of thinking. This is a participatory workshop where we introduce you to 2 of the techniques developed at Goldsmiths and consider how to adapt them to integrate in to different curriculum.

Designing Design Thinking into Arts Administration Courses
Diane Scott

The design thinking methodology is changing the way arts administrators in the field approach program development, marketing, organizational strategy and community engagement. Teaching arts administration concepts in the parameters of the design thinking methodology presents unique opportunities, as well as unexpected challenges. This active session will give a brief overview of the design thinking approach; strategies for how to incorporate the design thinking methodology into arts management curriculum; the benefits of incorporation and the potential pitfalls to avoid.

Management is Dead: Long Live Arts Management
Constance DeVereaux, Nina Zahner, Patrick Germain-Thomas

Many people have wondered what arts management would be like within a framework emerging from its own - rather than borrowed - principles. It’s no secret that publics, worldwide, have lost faith with conventional business practices that emphasize shareholder profit—often at the expense of the public good. And yet, arts organizations and other creative enterprises have long been told that "being more like business" is a best practice. The 2014 Edelman Trust Barometer found, across 27 countries, that overall trust in corporate CEOs and government officials was significantly low. They were largely seen as “trust consumers’ rather than “trust generators (Academy of Management Journal 2014).” One response is the current trend in the for-profit sector to adopt purpose driven practices, appealing to principles that many non-profit, public, and creative enterprises already adhere to. Is the era of managerialism at its end? If so, what comes next? This panel brings together researchers investigating concepts of post-management. Some of these practices are already in place in a limited number of arts organizations that have rejected the premise of being “more like business.” Noting that conventional business is outcome based (a consequentialist focus) compared to the practice of art creation and dissemination, which is process focused (a non-consequentialist approach) this panel presents results of investigations into the possibilities for post-management in the arts, culture, and creative sectors. It seeks to answer the question, what does a post-management arts management look like and how does it work to achieve the goals of more art, more audiences, more participation in the arts?

Creative placemaking in the US: The case of Portland, OR

Eleonora Redailli

Creative placemaking is an idea that is gaining traction in the field of arts and culture. Despite a growing popularity, creative placemaking is still a fuzzy concept that offers an unstable signifier based on a fractured and loose web of rationales and justifications, from which vested parties are still working out terms and agreement. In this research, I consider creative placemaking as it has developed as a national policy in the United States. First, I analyze the multilevel governance of the creative placemaking policy developed by the NEA, pointing out how three different tools have been used by the government to promote this policy: research, grants, and partnerships. Then, I turn attention to the local level and investigate how each of these tools is connected to a specific art program in Portland, OR: Trimet’s Interstate MAX public art program, Time Based Art Festival by Portland Institute of Contemporary Art, and My Story by We Are Portland. I study each of these programs, addressing the following questions: What are the art theories supporting the overall project? What is the role of artists? What is the connection with place?  

Crossing Borders: Global PR of the State Hermitage Museum
Dr. Natalia Grincheva

The proposed research will significantly contribute to the scholarship on museum global PR with new findings that will help to identify and explore new global outreach practices that advance a museum position in the international arena. The research will employ ethnographic methods which allow exploring various activities, programs, and initiatives of the foundations located in different countries. Drawing on my personal experiences as a volunteer in the Hermitage Museums Foundations in the USA (2010) and in the UK (2011), the research will expose how the foundations function as
important facilitators of the museum development campaigns and traveling exhibitions outside of Russia. Furthermore, semi-structured interviews with the foundations’ directors and leaders from all six countries will provide important details on the structure and nature of relationships established between the State Hermitage Museum and targeted communities abroad. This focused case study will serve as an excellent research platform for identifying and exploring best practices in the museum
global PR emerging in the conditions of economic and cultural globalizations. The case study will have strong implications for the field of cultural management and will advance academic scholarship on museum PR which is currently under-researched and requires further attention from museum scholars.

Session Chair: Travis Newton

Share a final toast with your colleagues and wrap up conversations from our time together before we proceed to the evening's festivities. 

Close out the conference with a distinctively Scottish cultural experience! The Scottish ceilidh (KAY-lee) is a wonderful exploration of the country’s musical and social heritage and a signature experience for anyone seeking Scottish cultural immersion. The evening will begin with a traditional Scottish meal, followed by a ceilidh dance demonstration. Following the demonstration, conference attendees and guests will get a lesson in ceilidh dancing and have the opportunity to participate in the AAAE ceilidh celebration. Ceilidh dancing is structured, and the steps are called out–so everyone can enjoy this rich tradition to the fullest as we celebrate our time together in the UK.  This event all takes place at The Hub, a distinctive site on Edinburgh’s Royal Mile and the headquarters of the Edinburgh International Festival.