I've just become a fan of the Irish Arts Council! This is a great website and interesting for the sake of comparison - I'm particularly fond of the "Cross artform practice" category.
I must say that what led me here was a hope that I'd find something more on Irish-American cultural heritage policy/practice... something akin to France's extremely impressive portal, Frenchculture. They have certainly got their bases covered; I finally figured out why the University of Oregon happened to have hosted a French film festival last fall - the FACE program.
It's interesting to realize, as a full-blown adult, that I might have learned French due to the country's almost aggressive self-promotion of its language and culture. Not that I regret it or am that critical of this; certainly my life has been enriched in countless ways from this level of exposure and opportunity.
But isn't it odd that an Irish-German-French girl like myself knows all about her French roots, but nothing about the others? Too bad! If only there were an Irish cultural outlet nearby. My jigging abilities are getting a tad rusty.
Sunday, December 6, 2009
Sunday, November 8, 2009
Check it out... the 2009 American Life and Culture Report is in! Hot diggity dawg!
Or, well, the preliminary results and a listing of take-aways. Thanks, CFFM!
Or, well, the preliminary results and a listing of take-aways. Thanks, CFFM!
Thursday, October 1, 2009
Planning for Social Media!
This paper, presented at the 2009 Museum Web Conference by Australian researchers, has a brilliant, basic concept:
1. What is social media and
2. Key topics which impact efficient and effective use of social media.
Now, I'd like to steer away from a focus on social media, because I'm not convinced by it for it's own sake - but I like several questions outlined in the structure, as major concepts that I imagine impact any aspect of arts and cultural planning (pulled ver batim from the actual workshop's description):
The workshop will address:
The range of web-based social media available to museums.
The issues that will arise in planning for such applications.
How to anticipate/address such issues.
Structure
The workshop will be structured around four key topics:
Changing communication models in the museum.
Connecting youth audiences to museum content.
Navigating internal resistance to implementing social media
Strategies for engaging communities in the sharing of knowledge.
Frankly, any of the 4 structural questions are valid across the board! For my own purposes, as I look back at my research - it is suddenly clear how much I need to streamline my focus, particularly as I am now liberated to engage in a readings-based capstone. I'm thinking I'll minimize my definitions of social media - they'll change in 6 months, anyway - and focus more pragmatically on management issues such as efficiency and effectiveness (planning, implementing or evaluating has yet to be determined) related to a REAL question... but which one?
Connecting youth to such tools and content is certainly worthwhile, for many reasons, and one would think there's literature out there talking about this...
Yet the the issue of "internal resistance" -- particularly pertinent given my past summer in a federal museum, slow to embrace the new technologies which will be their lifeline to continuing national relevancy -- is pretty darn big, less obvious and perhaps the most obscurely influential reason a museum's strategic technology plan gets off the ground (or winds up avoided, trivialized as a needless fad, and given to the interns as a token project). Hmmmm.
1. What is social media and
2. Key topics which impact efficient and effective use of social media.
Now, I'd like to steer away from a focus on social media, because I'm not convinced by it for it's own sake - but I like several questions outlined in the structure, as major concepts that I imagine impact any aspect of arts and cultural planning (pulled ver batim from the actual workshop's description):
The workshop will address:
The range of web-based social media available to museums.
The issues that will arise in planning for such applications.
How to anticipate/address such issues.
Structure
The workshop will be structured around four key topics:
Changing communication models in the museum.
Connecting youth audiences to museum content.
Navigating internal resistance to implementing social media
Strategies for engaging communities in the sharing of knowledge.
Frankly, any of the 4 structural questions are valid across the board! For my own purposes, as I look back at my research - it is suddenly clear how much I need to streamline my focus, particularly as I am now liberated to engage in a readings-based capstone. I'm thinking I'll minimize my definitions of social media - they'll change in 6 months, anyway - and focus more pragmatically on management issues such as efficiency and effectiveness (planning, implementing or evaluating has yet to be determined) related to a REAL question... but which one?
Connecting youth to such tools and content is certainly worthwhile, for many reasons, and one would think there's literature out there talking about this...
Yet the the issue of "internal resistance" -- particularly pertinent given my past summer in a federal museum, slow to embrace the new technologies which will be their lifeline to continuing national relevancy -- is pretty darn big, less obvious and perhaps the most obscurely influential reason a museum's strategic technology plan gets off the ground (or winds up avoided, trivialized as a needless fad, and given to the interns as a token project). Hmmmm.
Wednesday, September 30, 2009
Social Media and Ethics...
An interesting lead to follow, research-wise!
Social Media Today has posted a Big Brother-Social Media link which, though not remotely academic or even particularly well expressed, pinpoints my growing dissatisfaction with the obscured underbelly of social media - cynical, targeted marketing techniques masquerading as creative self-expression and community building. The more I see of how little we can actually, meaningfully accomplish through social media, the less I'm inclined to naively write up a paper about its supposed educational goldmine.
Article for my reference...
Social Media Today has posted a Big Brother-Social Media link which, though not remotely academic or even particularly well expressed, pinpoints my growing dissatisfaction with the obscured underbelly of social media - cynical, targeted marketing techniques masquerading as creative self-expression and community building. The more I see of how little we can actually, meaningfully accomplish through social media, the less I'm inclined to naively write up a paper about its supposed educational goldmine.
Article for my reference...
Crumb...
New resource to check out: Curatorial Resource for Upstart Media Bliss... once I'm on a decent computer with Adobe Flash.
Thursday, September 17, 2009
Hurray for RACC!
An increase in arts donations during a recession? Only in Portland... thanks to the Work for Art program, which simplifies the process / encourages local businesses to donate to RACC, which in turn matches the donations with public funds. It would be interesting to study their formula... I admit that I don't quite follow how "public funds" can be summoned to match private funds. But, I guess it works.
Arts Education Salon...
Note to self: September 21-25, I want to remember to check out the Arts Education Salon -- an upcoming blog project of Americans for the Arts.
Monday, September 7, 2009
Catalysts for Community Activitism and Commitment!
Bingo! Research topic coming into focus -- thanks to Jane Remer, whose questions in "Beyond Enrichment: Building Effective Arts Partnerships with Schools and Your Community" have haunted me since Lori's class last Winter. Why not acquaint myself with these behind-the-scenes catalysts / cheerleaders / resources, who work primarily on the local and state level to promote awareness of and resources for arts education?
Remer asks: "What constitutes an effective catalyst for local community activism and the arts in the education of all children?" (p. 430).
As an educator, I've long been intrigued by organizations who are not directly involved in the classroom, yet whose work provides a pool of community-based cultural experiences and professionals to indirectly enrich what schools often lack, due more to the district's anemic arts funding than the teacher's lesson plans. Remer describes the need for these "catalysts" to build community partnerships and to unify/nurture local arts and culture constituents; that is, this isn't Young Audiences; these are the groups who strategically orchestrate opportunity windows for community needs, state and national policy, and systemic educational reform. On a good day.
Nationally: Americans for the Arts, the National Assembly of State Arts Agencies - or more locally, the Creative Advocacy Network.
I guess being in DC for the summer has encouraged me to take a more active interest in the politics which ultimately shape education and community - I'd say it's certainly worth my year of research to get a grasp on this enormously complex "state of the arts." Hurrah!
Remer asks: "What constitutes an effective catalyst for local community activism and the arts in the education of all children?" (p. 430).
As an educator, I've long been intrigued by organizations who are not directly involved in the classroom, yet whose work provides a pool of community-based cultural experiences and professionals to indirectly enrich what schools often lack, due more to the district's anemic arts funding than the teacher's lesson plans. Remer describes the need for these "catalysts" to build community partnerships and to unify/nurture local arts and culture constituents; that is, this isn't Young Audiences; these are the groups who strategically orchestrate opportunity windows for community needs, state and national policy, and systemic educational reform. On a good day.
Nationally: Americans for the Arts, the National Assembly of State Arts Agencies - or more locally, the Creative Advocacy Network.
I guess being in DC for the summer has encouraged me to take a more active interest in the politics which ultimately shape education and community - I'd say it's certainly worth my year of research to get a grasp on this enormously complex "state of the arts." Hurrah!
Article on Portland's Creative Advocacy Network in today's Oregonian.
Buliding a network of support for dedicated funding for the arts, echoing the successful models of environmental coalitions... cool.
Buliding a network of support for dedicated funding for the arts, echoing the successful models of environmental coalitions... cool.
Friday, September 4, 2009
From Americans for the Arts: Defining Arts Education Policy
"Arts education policy is a clearly identified course of action, infrastructure, and/or framework established by a governing body—school boards, state legislatures, federal government—designed to guide present and future decisions regarding arts programming, facilities, instruction, curricula, and funding. While arts education policy is adopted, implemented, and funded at the national, state, and local levels, school boards play a fundamental role in designing educational policy at the local level within their school districts."
So the question is: do I wish to pursue research in local, state or national policy?
To understand the local process is valuable, but it surely would be worthwhile to understand who on high is giving the orders.
Hmmm...
So the question is: do I wish to pursue research in local, state or national policy?
To understand the local process is valuable, but it surely would be worthwhile to understand who on high is giving the orders.
Hmmm...
Wednesday, September 2, 2009
Questions about standards...
The following questions and Big Ideas are from the syllabus of Professor Conley's class, EDLD 541. I've placed in bold the questions/ideas that most intrigue me:
1. Why do we have accountability systems in public education? Is it possible tomake public schools accountable in a way that achieves policy goals?
2. What is the relationship between accountability systems and the political process in states and at the federal level?
3. What are standards? What is their proper role in public education systems?
4. What do standards systems look like? What are the strengths and weaknesses of various approaches?
5. What types of data do we need to collect to determine whether we are achieving the standards?
6. How should cut scores be established for standard systems?
7. How can we summarize information to determine program accountability?
8. What is the legitimate role of the state in the establishment of systems of
standards and accountability?
9. What are the effects of standards and accountability systems on teaching,
teachers, students, and learning?
10. What are the political and social issues associated with the adoption and
implementation of standards and accountability systems?
Big Ideas
• Standards and accountability systems are here to stay, however imperfect they may be. The goal is to learn how to do them right and how to balance state control and local creativity.
• States are just now learning how to express their newfound role as the primary
controllers of K-12 policy and finance, and current standards and accountability
systems represent a trial-and-error approach.
• Standards and accountability systems are inherently political, yet can also be tools that mediate between the state and school as expressions of common values and goals.
• State standards and accountability systems serve multiple sometimes-conflicting purposes.
• Implementing standards and accountability systems involves changes that are central to teaching and learning, and changes in these areas are the most difficult for schools to make.
Indeed. So now I'm wondering how arts education can fit into this picture -- and whether I can feasibly devise a research proposal with all of these questions swimming in my head.
Pity the class is only offered in the Spring!
1. Why do we have accountability systems in public education? Is it possible tomake public schools accountable in a way that achieves policy goals?
2. What is the relationship between accountability systems and the political process in states and at the federal level?
3. What are standards? What is their proper role in public education systems?
4. What do standards systems look like? What are the strengths and weaknesses of various approaches?
5. What types of data do we need to collect to determine whether we are achieving the standards?
6. How should cut scores be established for standard systems?
7. How can we summarize information to determine program accountability?
8. What is the legitimate role of the state in the establishment of systems of
standards and accountability?
9. What are the effects of standards and accountability systems on teaching,
teachers, students, and learning?
10. What are the political and social issues associated with the adoption and
implementation of standards and accountability systems?
Big Ideas
• Standards and accountability systems are here to stay, however imperfect they may be. The goal is to learn how to do them right and how to balance state control and local creativity.
• States are just now learning how to express their newfound role as the primary
controllers of K-12 policy and finance, and current standards and accountability
systems represent a trial-and-error approach.
• Standards and accountability systems are inherently political, yet can also be tools that mediate between the state and school as expressions of common values and goals.
• State standards and accountability systems serve multiple sometimes-conflicting purposes.
• Implementing standards and accountability systems involves changes that are central to teaching and learning, and changes in these areas are the most difficult for schools to make.
Indeed. So now I'm wondering how arts education can fit into this picture -- and whether I can feasibly devise a research proposal with all of these questions swimming in my head.
Pity the class is only offered in the Spring!
Thursday, August 27, 2009
Questions from the AAM
Prompts for session proposals for the May AAM conference; my first thoughts are in italics.
1. In a world without borders, is the world itself our community? Should it include the new virtual community of people everywhere interested in our information and collections?
Of course! For whatever reason, the idea of a world without borders makes me focus on rural communities and small towns -- aka, 98% of the American landscape, full of communities whose local resources may not be equipped to provide the arts and cultural opportunities of minority metropolian areas. The question is not whether we should include "people everywhere" in our strategic planning; it's how we can do so effectively - who exactly will use it? How will they find these resources?
Can connecting better help us make a greater impact on people’s lives and on communities around the globe where our visitors live, work and play? Can it make us more socially responsible institutions?
That's a veeeery interesting concept: the socially responsible institution. One who is transparent, accountable, and community-focused in terms of its programming and exhibitions, I presume? I think realistically, the impact of an arts organization is dependent on its partnerships and the meaningful connections it attempts to forget within its local community. What a wonderful idea. What a difficult goal, however, unless the board of directors and museum staff happen to be fully committed to the idea of a democratic museum. To me, socially responsible means that curators alone do not drive programming, like captains of the yacht; if the city's art museum board consists of the five richest families in town, that information needs to be accessible on the museum's website.
Can our new connectedness lead to better business models to sustain our institutions? The Internet and social networks offer small and remote museums the opportunity to increase their reach and impact. How can we help make that happen more broadly?
I certainly hope so - there are so many practical and liberating professional applications for social networking, yet in every office I've worked in, the wonders of Microsoft Office and Adobe are still a complete mystery. Training and resources are the first step.
How should we balance local needs and concerns with the potential to develop new international audiences of members and donors?
Ooh, tough one.
From an institutional perspective, what lessons can we learn from our colleagues abroad? Which operational models should we emulate? What are the models of transnational partnerships that can work for our museums?
Let's look at the UK! They do everything so bloody well.
Does diversity take on a new, more urgent meaning in an interconnected world?
It does, but I need to go to lunch now.
Let's begin!
Me: "I'm getting my Master's degree in Arts Management and Museum Studies, with a certificate in Non-profit Management."
Most people I talk to: "Management? Huh."
The blank stares usually warm up when I repeat the word 'art,' and for the umpteenth time I'll explain my degree / aka, my life's decision to return to school and enter a new field.
The funny thing is, my explanation has continually evolved since September 2008; I can't even conceive of what bullshit I was feeding people back in December of 2006 (the first time I applied, and was waitlisted, to my program).
My original answer ran along the following lines:
"Well, I was a teacher for a few years, and it just wasn't satsifying. Kids are fine, really, I just really hate lesson planning. I kind of hit a dead-end with education - if you ever want to advance or change positions, you'll have to spend a year in grad school. That put the idea in my head. However, if it was in my professional best interests to go back for a third degree, I decided that it had better be something I really loved this time."
"And I love art. And culture. I speak French!"
So, it seemed crystal clear. I reckoned I also liked museums - I'd been to loads, they needed professionals to run them, and I'd find a career surrounded by Caravaggios and professional satisfaction.
As of today, my answer is:
"I'm pursuing a career in the arts and culture sector because the arts are inspiring, universal, and beautiful, and it needs to be run well by professionals like myself and my colleagues -- these are the people I want to work with, and this is the cause I want to work for. To me, the arts are visual, performing, community, culinary, afterschool, amateur, mentored, or sitting on the street: anything or anyone teeming with life, managing to communicate someone's reason for being."
Most people I talk to: "Okay... so... you want to be a curator or something?"
Fortunately, I have another year to fill in that blank. I am specializing in museums, true, and have interned for the Smithsonian in Washington DC as part of my gradute degree program - but what excites me about this field are the numerous possibilities and positions that I will hopefully encounter once I'm back in the working world.
Until then, this blog is my informal and possibly irrelevant collection of resources, reflections and so on, dedicated to the professional arts manager within.
Most people I talk to: "Management? Huh."
The blank stares usually warm up when I repeat the word 'art,' and for the umpteenth time I'll explain my degree / aka, my life's decision to return to school and enter a new field.
The funny thing is, my explanation has continually evolved since September 2008; I can't even conceive of what bullshit I was feeding people back in December of 2006 (the first time I applied, and was waitlisted, to my program).
My original answer ran along the following lines:
"Well, I was a teacher for a few years, and it just wasn't satsifying. Kids are fine, really, I just really hate lesson planning. I kind of hit a dead-end with education - if you ever want to advance or change positions, you'll have to spend a year in grad school. That put the idea in my head. However, if it was in my professional best interests to go back for a third degree, I decided that it had better be something I really loved this time."
"And I love art. And culture. I speak French!"
So, it seemed crystal clear. I reckoned I also liked museums - I'd been to loads, they needed professionals to run them, and I'd find a career surrounded by Caravaggios and professional satisfaction.
As of today, my answer is:
"I'm pursuing a career in the arts and culture sector because the arts are inspiring, universal, and beautiful, and it needs to be run well by professionals like myself and my colleagues -- these are the people I want to work with, and this is the cause I want to work for. To me, the arts are visual, performing, community, culinary, afterschool, amateur, mentored, or sitting on the street: anything or anyone teeming with life, managing to communicate someone's reason for being."
Most people I talk to: "Okay... so... you want to be a curator or something?"
Fortunately, I have another year to fill in that blank. I am specializing in museums, true, and have interned for the Smithsonian in Washington DC as part of my gradute degree program - but what excites me about this field are the numerous possibilities and positions that I will hopefully encounter once I'm back in the working world.
Until then, this blog is my informal and possibly irrelevant collection of resources, reflections and so on, dedicated to the professional arts manager within.
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