This report is the result of an organizational internship (June 6, 2011-September 30, 2011) at Root Division, a visual art nonprofit located in San Francisco, CA. The nature of the internship required work in many facets of the organization allowing a full analysis of the organization’s operations, funding streams, and goals for the future. This report begins with an extensive overview of this unique organization, which celebrates its 10-year anniversary in 2012. The report then analyzes organizational observations, finding that Root Division must focus on strategic communication and new relationships with donors in order to obtain future goals. The paper concludes with recommendations for Root Division based on best practices in sustainable funding, branding and donor base building. These recommendations will allow Root Division to continue to steadily grow and create an artistic ecosystem for the San Francisco Bay Area.

As an administrative intern at Dance Exchange in Takoma Park, MD I had the opportunity to study this organization in a transitional phase following the departure of its founder Liz Lerman. I worked with Dance Exchange from September 6th, 2012 to December 16th, 2012. During that time I updated their media and donor lists, social media outlets, maintained the social media outlets, and assisted in the planning and execution of their HOME events, among other tasks. This paper will serve as an organizational analysis of Dance Exchange. Following this analysis, I will offer suggestions on how Dance Exchange might proceed so as to best benefit the organization and help them continue to be a presence in the field of modern dance.

This report reviews the internal structure of the Louisiana Philharmonic Orchestra (LPO), a non-profit entity, and provides an analysis of issues facing the organization. A history of the LPO, description of programs, and staff structure review provide a basic understanding of the organization. For the purpose of this internship report, the timeframe of the internship took place from August 2011 through January 2012.

This internship report is based on my work with the organization KID smART from June of 2011 through November of 2012. I had the opportunity to work in several departments, including programming, development, and administrative support, as well as directly with students in New Orleans public schools. From this unique point of view, I observed how an effective organization approaches the complex education system and works towards change in a challenging environment. My observations attempt to describe the evolution of this dynamic agency, its procedures for regulation and evaluation, and what role it plays in the community. My recommendations are based on perceived gaps in an otherwise highly functional organization that has a positive impact on its stakeholdersʼ quality of life.

The following paper documents Meredith Harper’s internship from May 2012 to August 2012 at the Contemporary Arts Center in New Orleans, LA as part of the degree requirements for the Master of Arts in Arts Administration. The Contemporary Arts Center (CAC) is the only non-collecting, multi-disciplinary arts center in New Orleans, and has worked to present the very best of the "art of now" to the New Orleans community since 1976. This paper is written from the point of view of an arts administrator observing the organization as an outsider. This paper will discuss the responsibilities and duties of the internship, focused through the lens of organizational development, and examine the CAC’s institutional effectiveness by identifying strengths and providing solutions for areas needing improvement.

This internship report reviews the non-profit entity French Quarter Festivals, Inc. (FQFI), and each of the three festivals it produces. The report includes an analysis of the strengths and weaknesses of the organization and offers suggestions for improvements. The history of FQFI, a description of programs and a breakdown of the staff structure provide a basic understanding of the organization. For the purpose of this internship report, the timeframe being reviewed covers June 2012 through August 2012.

This paper is based on my internship at the New Orleans Opera Association, which took place from May 16th to October 31st, 2012. The primary activity of the New Orleans Opera Association is to produce three to four mainstage operas each season. The Opera Association is a vital part of the cultural and economic life of the City. The New Orleans Opera Association is governed by a Board of Directors and a General and Artistic Director heading a staff of eight. This report includes detailed information about the organization's history and current programs. It also includes a description of my internship, a S.W.O.T analysis, best practices and my recommendations which are based on my practical work in the organization as well as the knowledge I learned in the Arts Administration program.

The landscape of contemporary art in New Orleans is a challenging one, and in relative infancy. U.S. Biennial, Inc. immediately following Hurricane Katrina saw an opportunity to merge this burgeoning scene with the well-established tourism industry. As a result, the Prospect New Orleans biennials are an attempt to increase cultural tourism through the presentation of international contemporary art exhibitions. Audience engagement is a current hot topic for arts organizations of all kinds. Concerns over sustainability and community relevance have led many arts organizations to deeply examine who their targeted audiences are and how they are engaging those audiences. While U.S. Biennial, Inc. and the Prospect New Orleans biennials are primarily ventures to increase cultural tourism in the Greater New Orleans area, there is still a need to cultivate and maintain local audience engagement. This report examines how Prospect.2, the third iteration of the Prospect New Orleans biennials, attempted to both draw tourists to the area through contemporary art while also engaging local audiences in educational and public programming.

The following report documents my internship with Tulane Summer Lyric Theatre (SLT) during the summer of 2012. Tulane Summer Lyric Theatre was established in 1968. It is beloved by many faithful patrons in the New Orleans community. During my internship, I worked with the administrative staff and box office manager to focus on box office operations and volunteer oordination. My primary goals were to sell tickets for the upcoming season and to obtain volunteers for purposes of ushering the shows, and keeping patrons happy. This internship report provides an overview of Tulane Summer Lyric Theatre based on observational research and thorough analysis. The report examines organizational strengths, weaknesses, opportunities, threats, internal/external issues, and provides best practices of a similar organization and recommendations for organizational improvement.

Today’s arts nonprofits are navigating a challenging landscape where competition for funding and audiences is on the rise. To intensify this issue, rates of participation in the arts have declined and funders have raised the bar requiring that nonprofits demonstrate higher levels of accountability concerning results and mission achievement. These conditions have caused nonprofits to assess their leadership, community relevancy, program effectiveness, and management practices. Consequently, audience engagement has become a prominent topic in the field, with a growing body of research and varying perspectives. Arts nonprofits are experimenting with an array of strategies and activities to increase participation. New Orleans’ Contemporary Arts Center (CAC) developed a new Strategic Framework Plan and eliminated its larger debt in 2012, and is appointing a new Executive Director. This report examines the CAC’s history and current situation, and explores ways the organization can further its institutional growth and cement its place within the community.