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.

In January of 2012, I began an internship with the San Antonio Museum of Art. At the time, the Education Department was engrossed in an audience research study, designed to strengthen the Museum’s understanding of its constituents. This study was my entry-point into the organization and where all my efforts were focused over the course of my internship. This paper includes: an organizational summary; an account of my internship experiences; a SWOT analysis; a review of industry best practices; and recommendations based on observations acquired over the course of my internship.

The following report is the result of an internship with the oldest fine art institute in the city of New Orleans. I had the opportunity to work at the New Orleans Museum of Art within the Department of Interpretation and Audience Engagement. Over the course of this internship, I observed the staff of this prolific organization create and facilitate educational experiences and public programming relating to special exhibitions and the permanent collection while appealing to all ages and supporting the Museum’s mission. This report seeks to summarize the history of the institution, outline particular programs, and to define the importance of interpretation and audience engagement within visual arts organizations. It concludes with recommendations deduced from best practices aimed to strengthen the connection between the community and this cultural legacy through interpretation and audience engagement.

Since its inception in 1986, Southern Rep has maintained a formidable reputation for providing quality artistic programming as a nonprofit theatre company. Despite this status, dwindling government funding for arts in the United States combined with a decline in earned revenue and audience attendance has impacted Southern Rep’s operations. The result is an increased need for development and fundraising activities. The purpose of this report is to document my internship with Southern Rep from September 4, 2012 through June 5, 2013. My assessment is written from the perspective of an Arts Administrator functioning in a development capacity. By identifying Southern Rep’s internal strengths and weaknesses combined with external opportunities and threats which impact its operations, I will provide recommendations to achieve sustainability of contemporary drama in a conservative yet emergent environment.

The purpose of this thesis is to investigate the central issues and management structure of the New Orleans Ballet Association (NOBA), apply them to industry best practices, and make recommendations for improvement. The initial investigation occurred during a 480-hour internship in the Education Department from January-April 2013, under NOBA’s Executive Director and Education Coordinators. The thesis is enhanced through a prior 240-hour practicum in the Development department and position as Site Monitor for the Pre-Professional Program, which provided hands-on experience. The thesis will show a working knowledge of the organization, reflection on its practices, and a look towards the future.

The following internship report is a documentation of my work with the Ogden Museum of Southern Art from January through April 2013. I worked closely with the Museum departments of Education and Development, as well as the Deputy Director. This report is an analysis of the different business and management methods of the organization and their fidelity to best museum practices. I will analyze the strengths, weaknesses, opportunities and threats of the museum. I will also touch on the recent history of the Museum; what I observed currently; and the direction I see the museum heading in its future.