The decentralization of cultural production in China coincided with the introduction of economic and political reforms in 1979. The subsequent shift from a system of state propaganda production towards a market-oriented dealer-critic system of cultural production required a wider range of expertise beyond deep knowledge of the Western modern art canon or domain expertise. This dissertation investigates how the field of contemporary Chinese art (CCA) is constituted and transformed through a division of labor that reflects varieties of expertise using empirical data from 89 in-depth interviews with leading cultural professionals working in the CCA field, historical archival records, and participant observation. The study revises the conventional conception that domain expertise consistently shapes cultural fields. The main finding is that the kinds of expertise used are associated with how the CCA field has developed over the past three decades. Cultural professionals mobilize non-cultural expertise as well as cultural capital to enlist international support for CCA, establish aesthetic value, and extend the boundaries of cultural organizations that filter and deliver CCA to a broad audience. These results reinforce the agency perspective in institutional studies. Individual actors drive change in the CCA field while being embedded within it. Overall, the transformation of the field of contemporary Chinese art encompasses pragmatic adaptations to environmental shifts in resource distribution, the availability of new technologies of cultural production, and wider political and economic transformations. / Sociology

xii, 79 p. : ill. (some col.) / In this study I propose a framework to assess democratic practices in non-profit organizations. The purpose is to identify actions that strengthen empowerment, examine how they are applied in the managerial and educational practices, and determine the outcomes for participants and stakeholders. I developed an assessment protocol based on organizational democracy principles through an examination of peer reviewed literature and field observations. I applied the resulting evaluation framework in a case study of Juventud FACETA, a program at the Amigos Multicultural Services Center, an organization that has sought to incorporate democratic practices in their mission. This study will be useful for 1) testing a formulation of criteria to examine and develop democratic practices in organizations and 2) designing a piloted evaluation protocol that can be used to assess organizational characteristics and actions that yield democratic empowerment outcomes among organization constituencies and staff dedicated to these principles in action. / Committee in charge: Dr. John Fenn, Chairperson; Dr. Doug Blandy, Member; Dr. Deborah Jonhson-Shelton, Member;

abstract: Department chairs or school directors, as the bridge between administration and faculty, and closely associated with the teaching and learning at the heart of the institution, hold very important roles in the departments or schools they oversee. Many chairs and department administrators in music schools and departments are selected from the faculty of the department and asked to serve as the chief administrator. They assume a set of duties that, to that point, have been beyond the purview of their academic training and professional experience--particularly for those with training in the performance disciplines. While usually successful as teachers, these new chairs and department heads face a difficult transition into administrative work because the skills required for an effective administrator are very different from those necessary to be an effective teacher. The purpose of this research was to ascertain the knowledge and skills that would be most practical for individuals aspiring to administrative or leadership roles in schools or departments of music, and to design a doctoral cognate that would supply that knowledge. The author reviewed the available research into administrative training for individuals pursuing administrative work in schools and departments of music. Interviews were then conducted with current or former music administrators from across the United States, inquiring about their experiences as administrators, any administrative training they received, and the types of things they wished they had known when first working in an administrative capacity. The author used this information to make recommendations concerning the creation of a doctoral cognate in administration for graduate students preparing to become music faculty so that they are equipped to undertake administrative responsibilities. The resulting cognate area consists of four courses: a course in finance, budgeting, and development; a course on organizational structure and behavior; a course on management and leadership theory; and a practicum or independent study in administration, in which students spend time observing and shadowing their department administrator(s) to apply the principles learned in the previous three courses. / Dissertation/Thesis / Doctoral Dissertation Music 2015

abstract: This research explores and deepens our understanding of an element of arts infrastructure in the United States: the arts incubator, an organizational form or programmatic initiative that exists at the intersection of artistic production, entrepreneurship, and public policy. The study is a qualitative cross-case analysis of four arts incubators of different types: Arlington Arts Incubator, Intersection for the Arts, Center for Cultural Innovation, and Mighty Tieton, situated within the context of the literature of arts incubators, business incubator evaluation, and a theoretical framework for understanding entrepreneurship in the US arts and culture sector. The research opens the black box of incubator operations to find that arts incubators create value for client artists and arts organizations both through direct service provision and indirect echo effects but that the provision of value to communities or systems is attenuated and largely undocumented. Arts incubators, like many small arts organizations, tend to look retrospectively at outputs rather than at the processes that convert inputs to tangible impacts, or means into ends. This is an issue not relegated only to the arts and culture sector; business incubators share some of these tendencies. Despite these issues, arts incubators remain a potentially impactful tool of cultural policy if their processes and activities align with their strategic goals and those processes and activities are assessed formatively and summatively. / Dissertation/Thesis / Doctoral Dissertation Public Policy 2015

The topic of the thesis is project management in the cultural organizations. The general levels of this topic are desribed in the theoretical part. This part analysis the sphere of the contemporary Czech cultural institutions, their cooperation and their position between the traditional roles and the modern management. Specific aspects of the project management for the exhibition project are also described. The aim of the analytical part is to describe and analyse the concrete project of the exhibition "Tschechische Fotografie des 20. Jahrhunderts" (Czech Photography of 20th Century) in Bonn (organised in the international cooperation of two different cultural organizations), to analyse the project processes, strenghts and risks and to give some recommendations to the project. The key topic for all these aspects is the coordination or synchronisation of the organizators and the positive aspects and complications of this cooperation.

Goal of this diploma thesis is to create a marketing strategy of the Prague Youth Philharmonic symphony orchestra including marketing concept definition, audience research and marketing communication project. The marketing strategy proceeds from internal and external SWOT analysis of the subject. Theoretical part of the thesis deals with classical marketing theory and its use in arts management praxis. It focuses on strategic marketing and its instruments.

Uppsatsen gör en genomgripande kvalitativ analys av redovisningens roll i institutionsteatern, i två fallstudier, med fokus på synliggörande av värdeskapande. Syftet är att öka förståelse för redovisningens funktion vid styrning av verksamheter med icke-finansiella mål. Ytterligare en ambition med uppsatsen är att föreslå ett förhållningssätt till icke-mätbara värden i redovisning och styrning. Inledningsvis presenteras de två analysobjekten som valts för fallstudier; Stockholms stadsteater och Västerbottensteatern. Genom samtalsintervjuer och observationer gör författaren närläsningar av analysobjekten som sedan relateras till utvald litteratur, praktiker och modeller av relevans för studien. Här förs resonemang kring de båda analysobjekten utifrån rådande teori inom redovisning, styrning och arts management. Studien antyder att redovisningens roll i teatern är mångfacetterad; den fyller en inre och en yttre funktion, i en konkret respektive abstrakt dimension. Studien indikerar också att icke-mätbara värden inte synliggörs om redovisningen endast belyses ur ett perspektiv. Avslutningsvis föreslår författaren att redovisningen har potential att kunna synliggöra institutionsteaterns substantiella värdeskapande, om alla delar av redovisningen betraktas som indikatorer för spelare i en samverkande process. / The thesis attempts to recognize the role of accounting, and its ability to articulate value creation, in the public sector. The study is carried out by two case studies, in publicly funded theaters. The main aim is increased understanding of the accounting’s role in organizations where the core goals are non- financial, or even non-measureable. An additional aim is, to suggest an approach to non-measureable values in accounting and management accounting. At first, the two case studies are presented: Stockholms Stadsteater and Västerbottensteatern. The case theaters are represented in the study by an analysis of performed conversation interviews and observations. In the analysis the author considers relevant literature and theoretical models in the research areas of accounting, management accounting and arts management. The thesis implies that the role of accounting is multi-facetted. The role of accounting can be explained as two tasks, an internal and an external task, which both occur in a tangible and an abstract dimension. The two dimensions of the two tasks makes four characters of the accounting. The study upholds problems in recognizing value creation by only taking one of these characters into account. In order to articulate the value creation, the author suggests that all of the recognized characters of accounting are to be considered, as the value created only can be recognized in the in-between of these characters.

The essay aims to show the relation between academic models for performance measurement and legitimisation in non-profit performing arts companies (NPA) and the current evaluation methods used by NPAs in Sweden. The study has been conducted using content analysis with a comparative design and deductive approach. Where the annual reports for The Royal Swedish Opera and The Royal Dramatic Theatre have been compared to their mission statements and each other. These reports were also compared to three chosen academic models to see if they were used and later discussed if the theatres could have use for them. The models selected highlighted different areas for legitimisation. “Third times the charm” highlights the opinions from other professionals. “A new paradigm” highlights the artistic experience for the audience. And “The four dimensions” highlights societal impact and managerial performance. The essay claims that the two institutions evaluate their business differently in their annual reports and would benefit from learning from each other. When it comes to the academic models. They could both use “third times the charm” more since it relates well to their mission, The Opera uses this method already but would benefit from using it more. Both theatres could also account for their societal impact more, which they now only do indirectly. “A new paradigm” is used seldom as a metho for legitimisation. This could be explained by the lack of such an evaluation in the mission for the theatres, the same goes for managerial performance. The essay recommends further research about the discrepancy found in the Kulturdepartementets different goal statements. About change in these institutions after adopting a new leadership structure. Finally, research seeking comments from the NPAs about their potential use of academia. / Uppsatsen ämnar visa relationen mellan akademiska modeller för legitimering och redovisning av konstnärlig verksamhet och den praktik som används idag. Studien har genomförts med en kvalitativ innehållsanalys med komparativ design med en deduktiv ansats. Där Kungliga Operan och Kungliga Dramatiska teaterns årsredovisningar dels jämförts mot sina uppdrag och mot varandra. För att sedan jämföras mot tre utvalda akademiska modeller för att se om dessa används eller om institutionerna skulle kunna ha användning av detta. Modellerna lyfter fram olika aspekter att legitimera sig på. ”Tredje generationens redovisning” lyfter professionellas åsikter som en metod att legitimera verksamheten. ”Konstnärlig upplevelse” lyfter den konstnärliga upplevelsen för publiken och ”Fyra dimensioner” lyfter samhällspåverkan (societal impact) och arbete mot inre effektivitet (managerial performance) som legitimeringsmetoder. Uppsatsen påstår att de två institutionerna redovisar sin verksamhet på olika sätt och skulle kunna dra lärdomar av varandra då deras uppdrag från Regeringen är nästintill identiska. När det kommer till de akademiska modellerna skulle Dramaten ha nytta av att använda ”tredje generationens redovisning” mer i sin redovisning för att hävda sin konstnärliga kvalitet i enlighet med uppdraget, Operan använder denna redovisning idag men skulle kunna använda det mer. Operan och Dramaten skulle kunna hävda sin koppling till samhällsnytta och det civila samhället med en ökad redovisning av samhällspåverkan. Båda institutionerna redovisar verksamhet för samhällspåverkan utan att uttrycka det tydligt. ”Konstnärlig upplevelse” används väldigt lite som legitimeringsmetod. Detta kan förklaras av att de uttryck för redovisning som denna metod hävdar inte efterfrågas i deras regleringsbrev. Detsamma gäller för en inre effektivitet. Uppsatsen rekommenderar till vidare forskning om diskrepans upptäckt mellan Kulturdepartementets olika målformuleringar. Om förändring på dessa institutioner efter ny ledningsstruktur. Samt att ta in röster från kulturlivet angående deras användning av akademiska texter.

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