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Performing Arts Workshop;
Over the course of three years, Performing Arts Workshop and evaluators measured five goals of the Workshop's Artists-in-Schools program. These goals were: to improve student critical thinking in the arts, to use the arts to positively impact academic performance, to identify problems in teaching at-risk youth, to use the arts to develop pro-social behavior, and to institutionalize arts and arts education in school settings to increase sustainability. The ability of the Artists-in-Schools program to meet these goals is examined through a quasi-experimental, mixed-method research design in the following reports.
Performing Arts Workshop;
Over the course of three years, Performing Arts Workshop and evaluators measured five goals of the Workshop's Artists-in-Schools program. These goals were: to improve student critical thinking in the arts, to use the arts to positively impact academic performance, to identify problems in teaching at-risk youth, to use the arts to develop pro-social behavior, and to institutionalize arts and arts education in school settings to increase sustainability. The ability of the Artists-in-Schools program to meet these goals is examined through a quasi-experimental, mixed-method research design.
Documents and analyzes the environment of support for individual artists. Provides a framework for analysis of various dimensions of the support structure, nationally and in specific sites across the U.S. Includes support programs and policy initiatives.
Center for Social Media at American University;
Provides results from a survey of leading broadcasters, independent filmmakers, production houses, and distributors, in order to explore how stakeholders are negotiating the deals to marry public television content and online accessibility.
Presents findings from a 2002 Urban Institute survey of Washington-area residents' perceptions of and attitudes toward the performing arts.
Craft Emergency Relief Fund (CERF+);
This report updates the 2004 study, "Voices From the Studio, National Craft Artist Research Project" The current survey results reported here complement focus groups and a literature review. The findings allow the CERF+ (Craft Emergency Relief Fund + Artists' Emergency Resources) board, staff, and other stakeholders to assess the needs of professional craft artists and inform decisions about CERF+'s programs and services.
The inquiry will also enlighten the craft field and arts sector as a whole about the needs, challenges, and opportunities craft artists face as they work to sustain their careers.CERF+'s 2013 survey of 3,500 American craft artists sampled attitudes about craft trends, sales and income, insurance, emergency preparation and recovery, and plans for their legacy.
Quantitative survey findings closely correspond with more nuanced, qualitative results of nine focus groups conducted by CERF+ nationwide in late 2012 and early 2013. Policy makers, funders, and service providers will find the summaries of both studies instructive.
Pave Program in Arts Entrepreneurship, Arizona State University;
This report seeks to answer the question "How is business training being delivered to artist across the U.S.?" Artists need to proactively manage the business side of their creative practice, often approaching their practice as an entrepreneurial endeavor, particularly as public funding for the arts has declined and funding for individual artists is especially difficult to find. To support their efforts, state and local agencies, artist services organizations, universities and others are providing training, resources, and technical services directly to artists. We have identified 163 programs or services offered by 79 different organizations or individuals that provide arts business training or resources of various types to individual artists and the leaders of small arts organizations.
Theatre Communications Group;
"Theatre Facts" is Theatre Communications Group's (TCG) annual report on the fiscal state of the U.S. professional not-for-profit theatre field. The report examines attendance, performance, and fiscal health using data from TCG Fiscal Survey 2014, for the fiscal year that member theatres completed anytime between October 31, 2013, and September 30, 2014. Theatres' artistry, the contributions they make to their communities, and their influence on the artistic legacy of the nation transcend the quantitative analyses that are described here. This report is organized into 3 sections that offer different perspectives:
The "Universe" section provides a broad overview of the U.S. not-for-profit professional theatre field in 2014.The "Trend Theatres" section presents a longitudinal analysis of the 118 TCG Member Theatres that responded to the TCG Fiscal Survey each year since 2010. This section provides interesting insights regarding longer-term trends experienced by a smaller sample of mostly larger theatres.The "Profiled Theatres" section provides an in-depth examination of all 177 Member Theatres that completed TCG Fiscal Survey 2014.
Rockefeller Archive Center;
In my previous research, I examined the contributions of the Rockefeller Foundation (RF) to the development of the Japanese healthcare system during the post-World War II period. That work led me to the question of how the RF contributed to the development of Japan's cultural exchange with other countries during the same period. The role of philanthropy in areas of public policy, such as healthcare and international cultural exchange, has not been examined in great depth, although there has been research on the role of philanthropy in U.S. diplomacy. My research at the Rockefeller Archive Center (RAC) examined several aspects of the RF's contribution to international cultural exchange policy in Japan. In particular, I focused on: 1) the role of Charles Burton Fahs as the director of humanities at the RF 2) the role of collaboration between the U.S. State Department and the RF and 3) the role and profound involvement of John D. Rockefeller 3rd (JDR 3rd) in the creation of the International House of Japan, which in 1955 became the first international cultural exchange center in Japan.
Rockefeller Archive Center;
World War II and the early Cold War brought the federal government and U.S. art museums together in new ways, readjusted the definition and status of art in America, and created a new kind of representational diplomacy involving the promotion of "national art exhibitions" that articulated the position of US cultural leadership in the world. This is the working thesis for my forthcoming dissertation "Re-designing the World: American Art Museums and Mid-Century Global Diplomacy." During the summer of 2016 I was privileged to spend four weeks at the Rockefeller Archive Center (RAC) in the Grant-In-Aid Program, working on an important piece of my dissertation that would focus on Nelson A. Rockefeller and his contributions to uniting American art museums and the U.S. federal government through the medium of national art exhibitions as a tool of diplomacy and goodwill.
Rockefeller Archive Center;
In the summer of 2010, I spent two weeks at the Rockefeller Archive Center (RAC) as part of my preliminary dissertation research into the domestic and international activities undertaken by U.S. museums during World War II and its immediate aftermath. A core focus of this project, currently entitled "A Cultural Arsenal for Democracy: The War Work of U.S. Museums, 1930-1955," is the ways in which museum exhibitions contributed to the construction of national belonging, civic identity, conceptions of America's place in the world, and the public's relationships, as both citizens and consumers, to war and its technologies. Additionally, my aim is to situate the embodied ways of knowing, constructed by museums within the broader matrix of exhibitory practices pursued by government agencies, many times in partnership with museums.