Increasing the presence of African Americans in the arts administration field

2021 ◽  
Author(s):  
Pamela M. Green
Keyword(s):  
African Americans ◽  
Arts Administration ◽  
The Arts

Cash and Customers: Theatre Revenue and the National Economy

1988 ◽  
Vol 4 (15) ◽  
pp. 258-263
Author(s):  
Paul Huntington
Keyword(s):  
Arts Administration ◽  
Commercial Sector ◽  
Consumer Expenditure ◽  
The West ◽  
The Past ◽  
The Arts ◽  
National Economic ◽  
The Impact ◽  
The Relationship ◽  
The City

While statistical information on certain sectors of the British theatre is slowly becoming available – notably from the Arts Council and the Society of West End Theatre, as also from researchers in the Department of Arts Administration at the City University – few attempts have yet been made to draw useful conclusions from these figures, or to deduce how they might be helpful in terms of forward-planning and projections. In the following article. Paul Huntington examines the relationship between theatre revenue and total consumer expenditure, in the context of published figures which illustrate the changing national economic picture of the past decade. He examines not only the way in which these figures tend, naturally enough, to confirm certain expectations – for example, concerning the impact of tourism on the theatre – but also less expected findings, such as the relative upsurge in the fortunes of the regional theatres at a time of slump in the commercial sector of the West End.

Introduction to Arts Management

2017 ◽  
Author(s):  
Jim Volz
Keyword(s):  
Best Practices ◽  
Visual Arts ◽  
Symphony Orchestra ◽  
Arts Organizations ◽  
Arts Administration ◽  
Arts Management ◽  
Art Gallery ◽  
The Arts ◽  
Hands On ◽  
Set Up

Introduction to Arts Management offers a unique, dynamic and savvy guide to managing a performing or visual arts organization, be that an arts center, theatre, museum, art gallery, symphony orchestra, or other arts company. For those training to enter the industry, workers in arts administration, or those seeking to set up their own company, the wealth of expert guidance and direct, accessible style of this authoritative manual will prove indispensable. Gathering best practices in strategic planning, marketing, fundraising and finance for the arts, the author shares practical, proven processes and valuable tools from his work with over 100 arts companies and professional experience producing over 100 music, dance, theatre and visual arts events. Unique features include: boilerplate guides for marketing and fundraisinga sample Board of Trustee contractspecific budget checklistsday-to-day working tools that can be immediately instituted in any arts organizationresources at the end of each chapter designed to help readers consider and implement the strategies in their own practice. Interviews with arts leaders offer insights into the beginnings and growth of significant arts institutions, while examples based on real situations and successful arts organizations from both North America and Britain illustrate and underpin the strategic and practical advice. Expanded from the author’s highly successful How to Run a Theatre, this edition offers both trainees and seasoned professionals the hands-on strategic leadership tools needed to create, build and nurture a successful career in the challenging world of arts administration and management.

Dance Moves

2012 ◽  
Vol 83 (3) ◽  
pp. 487-527
Author(s):  
Kenneth H. Marcus
Keyword(s):  
African American ◽  
African Americans ◽  
Northern California ◽  
Original Dance ◽  
The Arts ◽  
Art Form ◽  
Musical Scores

This article argues that a group of young African Americans in the 1940s and 1950s used ballet as a means of crossing racial and class barriers of an art form in which few blacks had until then participated. Founded in 1946 by white choreographer Joseph Rickard (1918–1994), the First Negro Classic Ballet was one of the first African American ballet companies in the country's history and the first black ballet company known to last over a decade. With the goal of multiethnic cooperation in the arts, the company created a series of original “dance-dramas,” several with musical scores by resident composer Claudius Wilson, to perform for white and black audiences in venues throughout Southern and Northern California during the postwar era.

Socially Responsive Museum Pedagogy

2022 ◽  
pp. 887-901
Author(s):  
Dana Carlisle Kletchka ◽  
Shelly Casto
Keyword(s):  
United States ◽  
Collaborative Inquiry ◽  
The United States ◽  
Local Communities ◽  
Arts Administration ◽  
Museum Pedagogy ◽  
Educational Framework ◽  
The Arts ◽  
Specific Community ◽  
Socially Responsive

Art museums in the United States have long been called upon to provide educational and engaging experiences for their visitors; more recently, this expectation has expanded to address the most salient needs of local communities and respond to issues of social inequality. At The Ohio State University's Wexner Center for the Arts, these collaborations are woven into the mission of the institution and serve as a foundation of its educational framework. In this chapter, the authors highlight specific community collaborations between the Wexner Center for the Arts, the Department of Arts Administration, Education, and Policy at Ohio State, and the Columbus, Ohio, community. They suggest that these programs not only individually serve as examples for other institutions and university students engaged in museum education scholarship, but also collectively form a socially responsive museum pedagogy enacted in an ongoing cycle of collaborative inquiry.

Creating a local black identity in a global context: the French writer Alexandre Dumas as an African American lieu de mémoire

2010 ◽  
Vol 5 (3) ◽  
pp. 395-422 ◽  
Author(s):  
Eric Martone
Keyword(s):  
African American ◽  
African Americans ◽  
Black Identity ◽  
Alexandre Dumas ◽  
The Arts ◽  
Historical Progress ◽  
French Writer ◽  
History Of ◽  
American Society ◽  
Usable Past

AbstractWestern expansion and domination through colonial systems served as a form of globalization, spreading white hegemony across the globe. While whites retained the monopoly on ‘modernity’ as the exclusive writers of historical progress, ‘backward’ African Americans were perceived as ‘outside’ Western culture and history. As a result, there were no African American individuals perceived as succeeding in Western terms in the arts, humanities, and sciences. In response, African American intellectuals forged a counter-global bloc that challenged globalization conceived as hegemonic Western domination. They sought to insert African Americans as a whole into the history of America, (re)creating a local black American history ‘forgotten’ because of slavery and Western power. African American intellectuals thus created a ‘usable past’, or counter-memory, to reconstitute history through the inclusion of African Americans, countering Western myths of black inferiority. The devastating legacy of slavery was posited as the cause of the African Americans’ lack of Western cultural acclivity. Due to the lack of nationally recognized African American figures of Western cultural achievement, intellectuals constructed Dumas as a lieu de mémoire as part of wider efforts to appropriate historical individuals of black descent from across the globe within a transnational community produced by the Atlantic slave trade. Since all blacks were perceived as having a uniting ‘essence’, Dumas’ achievements meant that all blacks had the same potential. Such identification efforts demonstrated African Americans’ social and cultural suitability in Western terms and the resulting right to be included in American society. In this process, African Americans expressed a new, local black identity by expanding an ‘African American’ identity to a wider range of individuals than was commonly applied. While constructing a usable past, African Americans redefined ‘America’ beyond the current hegemonic usage (which generally restricted the term geographically to the US) to encompass an ‘Atlantic’ world – a world in which the Dumas of memory was re-imagined as an integral component with strong connections to slavery and colonialism.

Socially Responsive Museum Pedagogy

2021 ◽  
pp. 170-185
Author(s):  
Dana Carlisle Kletchka ◽  
Shelly Casto
Keyword(s):  
United States ◽  
Collaborative Inquiry ◽  
The United States ◽  
Local Communities ◽  
Arts Administration ◽  
Museum Pedagogy ◽  
Educational Framework ◽  
The Arts ◽  
Specific Community ◽  
Socially Responsive

Art museums in the United States have long been called upon to provide educational and engaging experiences for their visitors; more recently, this expectation has expanded to address the most salient needs of local communities and respond to issues of social inequality. At The Ohio State University's Wexner Center for the Arts, these collaborations are woven into the mission of the institution and serve as a foundation of its educational framework. In this chapter, the authors highlight specific community collaborations between the Wexner Center for the Arts, the Department of Arts Administration, Education, and Policy at Ohio State, and the Columbus, Ohio, community. They suggest that these programs not only individually serve as examples for other institutions and university students engaged in museum education scholarship, but also collectively form a socially responsive museum pedagogy enacted in an ongoing cycle of collaborative inquiry.

(Re-)Racializing “The Charge of the Light Brigade”

2019 ◽  
pp. 45-75
Author(s):  
Daniel Hack
Keyword(s):  
African Americans ◽  
Cultural Tradition ◽  
African American Culture ◽  
The Arts ◽  
History Of ◽  
The Moment ◽  
A Site ◽  
Relationship Of ◽  
The Relationship

This chapter discusses the African Americanization of “The Charge of the Light Brigade” by Alfred, Lord Tennyson. It argues that what makes “The Light Brigade” an inspired choice for this kind of task is its history and historicity. There exists a history of placing Tennyson's poem in relation to African American culture, and this history is one in which this relationship has been variously construed and vigorously contested. As the chapter shows, from the moment it was published, “The Charge of the Light Brigade” was mobilized, especially though not exclusively by African Americans, as a site or tool to address certain issues. These include: the relationship of African Americans to the dominant cultural tradition; the nature and politics of interracial cultural rivalry, mimicry, and appropriation; and the role of poetry and the arts—and violence—in the fight for racial empowerment and equality.

Electron Microscopy in Molecular Biology

1967 ◽  
Vol 25 ◽  
pp. 2-3
Author(s):  
Cecil E. Hall
Keyword(s):  
Electron Microscopy ◽  
Molecular Biology ◽  
Noise Level ◽  
Molecular Structures ◽  
Material Structure ◽  
The Arts ◽  
Shadow Casting ◽  
Electron Image ◽  
High Degree ◽  
Very High

The visualization of organic macromolecules such as proteins, nucleic acids, viruses and virus components has reached its high degree of effectiveness owing to refinements and reliability of instruments and to the invention of methods for enhancing the structure of these materials within the electron image. The latter techniques have been most important because what can be seen depends upon the molecular and atomic character of the object as modified which is rarely evident in the pristine material. Structure may thus be displayed by the arts of positive and negative staining, shadow casting, replication and other techniques. Enhancement of contrast, which delineates bounds of isolated macromolecules has been effected progressively over the years as illustrated in Figs. 1, 2, 3 and 4 by these methods. We now look to the future wondering what other visions are waiting to be seen. The instrument designers will need to exact from the arts of fabrication the performance that theory has prescribed as well as methods for phase and interference contrast with explorations of the potentialities of very high and very low voltages. Chemistry must play an increasingly important part in future progress by providing specific stain molecules of high visibility, substrates of vanishing “noise” level and means for preservation of molecular structures that usually exist in a solvated condition.

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