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Concurrent Session [clear filter]
Thursday, June 1
 

10:45am

Our Turn to Learn: Alumni Outreach and What It Can Tell Us
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.

Speakers
avatar for Larry Epstein

Larry Epstein

Teaching Professor and Department Head, Arts & Entertainment Enterprise, Westphal College of Media Arts & Design, Drexel University
Larry Epstein is a Teaching Professor and Department Head of Arts & Entertainment Enterprise for the Antoinette Westphal College of Media Arts & Design at Drexel University. He was the Director of the BS in Entertainment & Arts Management (EAM) since the program was launched in 2006... Read More →
avatar for Sally Gaskill

Sally Gaskill

Consulting Director, Strategic National Arts Alumni Project (SNAAP), Indiana University
Sally Gaskill became Director of the Strategic National Arts Alumni Project (SNAAP) in 2012, following four years as the project's Associate Director. SNAAP is the nation's largest source of information about arts graduates of North American universities. Since 2008, SNAAP has collected... Read More →
avatar for Kathryn Heidemann

Kathryn Heidemann

Assistant Dean of Arts & Entertainment Management, Carnegie Mellon University
Kathryn Heidemann is a senior arts management professional, artist, and higher education administrator, currently serving as Carnegie Mellon University’s Assistant Dean of Arts & Entertainment Management -- a joint appointment within the College of Fine Arts and Heinz College of... Read More →


Thursday June 1, 2017 10:45am - 12:15pm
QMU MacKay Room Queen Margaret Dr, Musselburgh EH21 6UU, UK

1:15pm

The AAAE Debut Panel
“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

Speakers
avatar for Adrian Debattista

Adrian Debattista

Research Associate, Arts Council Malta
Adrian Debattista is a Research Associate at Arts Council Malta whose role involves developing and managing the council’s research programme and setting up appropriate monitoring and evaluation systems from which policy recommendations can be made. He holds an M.A. in Arts, Festival... Read More →
avatar for Alicia Goodman

Alicia Goodman

Social Media Manager, Texas Tech University
Alicia M. Goodman is a third-year doctoral student at Texas Tech University studying Arts Administration and History/Theory/Criticism. She is the Social Media Manager for the School of Theatre and Dance at TTU. One of her research foci is how arts organizations can best use social... Read More →
avatar for Dr. Ursula M. Kuhar

Dr. Ursula M. Kuhar

Lecturer, Arts Administration, Indiana University
Dr. Ursula M. Kuhar is a lecturer in the Arts Administration Program at the IU School of Public and Environment Affairs. Prior to this appointment, she was the executive director of the Washington Concert Opera and director and assistant professor of Arts Management at Sweet Briar... Read More →
avatar for Carlotta Scioldo

Carlotta Scioldo

PhD Candidate in cultural policy, University of Hildesheim
Carlotta Scioldo studied Architecture, Art and Theatre Studies at the University of Turin (BA) and at the University of Architecture of Venice (MA). She was fellow researcher at New York University in Department of Arts and Art Profession. She was part of a.pass (advance performance... Read More →


Thursday June 1, 2017 1:15pm - 2:45pm
QMU MacKay Room Queen Margaret Dr, Musselburgh EH21 6UU, UK

3:15pm

New Approaches: Data, Entrepreneurship, and Cultural Constructs
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.



Speakers
avatar for Douglas DeNatale

Douglas DeNatale

Associate Professor of the Practice / Interim Director, Boston University Arts Administration Program
avatar for Linda Essig

Linda Essig

Arizona State University
Professor and Director of Enterprise and Entrepreneurship Programs: Herberger Institute for Design and the Arts. Proud to serve on the AAAE Board of Directors.
avatar for Neville K. Vakharia

Neville K. Vakharia

Associate Professor and Research Director, Drexel University
Neville Vakharia is Assistant Professor and Research Director in Drexel's renowned graduate arts administration program, teaching courses in management, strategic planning, entrepreneurship, and related subjects while undertaking research and development projects that seek to strengthen... Read More →


Thursday June 1, 2017 3:15pm - 4:45pm
QMU MacKay Room Queen Margaret Dr, Musselburgh EH21 6UU, UK
 
Friday, June 2
 

8:45am

Site Visits
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.


Stillshttp://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 Scotlandhttp://www.creativescotland.com/ 

Creative Scotland is the public body that supports the artsscreen 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.

 

Friday June 2, 2017 8:45am - 10:45am
Motel One Royal 18 Market St, Edinburgh EH1 1BL, UK

1:15pm

A Fresh Perspective: Re-examining Traditional Models in Education and Organizations
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)



Speakers
avatar for S. Rebeqa Rivers

S. Rebeqa Rivers

S. Rebeqa Rivers, (M.M.Ed., B.A. Voice) is a music educator in the contemporary music industry and a music researcher studying the intersections of music and identity. She owns a private voice studio in Seattle, Washington. Her students include internationally recognized performing... Read More →
avatar for Ellen Rosewall

Ellen Rosewall

University of Wisconsin–Green Bay
Ellen Rosewall is Professor and Chair of Arts Management and the author of three books: Arts Management: Uniting Arts and Audiences in the 21st Century (Oxford, 2013), Arts and Cultural Management: Critical and Seminal Sources (Bloomsbury, 2017) and Sparkle Island: Stories of Love... Read More →


Friday June 2, 2017 1:15pm - 2:45pm
QMU MacKay Room Queen Margaret Dr, Musselburgh EH21 6UU, UK

4:15pm

The Artistic Product: Curation and Creative Propositions
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.


Speakers
avatar for Sandra Lang

Sandra Lang

Associate Professor, New York Unviersity
Sandra Lang is Associate Professor of Art and Art Education and Director of the Visual Arts Administration MA Program, Steinhardt School of Culture, Education and Human Development, New York University, where she has been since 2000. She oversees all aspects of the VAA MA Program... Read More →
avatar for George Sampson

George Sampson

Lecturer, Arts Administration, Dept. of Art, University of Virginia
Columbia University MFA in Arts Administration, 1985 Amherst College BA in Sociology, 1973 Beginning in high school in 1967, I have produced and presented arts activities for 50 years, mostly in non-profit or educational settings. I launched Arts Administration courses at UVA in 2006... Read More →


Friday June 2, 2017 4:15pm - 5:45pm
QMU MacKay Room Queen Margaret Dr, Musselburgh EH21 6UU, UK