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The Arts Council of New Orleans is the official arts agency of New Orleans, located at 935 Gravier Street. The organization supports and develops the arts community through many different programming initiatives, including administering grants, managing a monthly Arts Market, and providing business training to artists. In this internship report, I discuss my role within the organization during my internship, which began in January 2013 and lasted through June 2013. I then analyze my observations of the organization’s strengths, weaknesses, opportunities and threats, and provide recommendations for improving the Arts Council’s operations based on best practices and expert literature in the field of nonprofit management. The Arts Council hired a new CEO in May of 2013, after a seven-year period of operating under interim management. With a permanent leader now in place, the organization is in a position to apply my recommendations so it can grow into a stronger arts agency, and better serve the New Orleans community.

This report documents my experience as a graduate arts administration intern at Pelican Bomb, a New Orleans contemporary visual art nonprofit. The internship was completed over the course of seven (7) months from January to July 2015. Starting with an overview of the organizational structure, mission, and programming, this report analyzes the organization’s strengths, weaknesses, opportunities, and threats. The report concludes with best practices and recommendations with a focus on board development, strategic planning, staff retention, and membership. The insights provided in this report are designed to enhance Pelican Bomb’s operations as it prepares for organizational growth.

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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