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This report describes the internship I spent at the Krasnodar Regional Center of Fine Arts in Russia. The Art Center is a leading fine arts organization in the Krasnodar Region of the Russian Federation and as such operates under the principles governing arts organization in Russia in general. I describe the managerial structure of the Art Center and responsibilities of each department, explain the specifics of the Art Center and the difficulties, problems and barriers that impact the functioning of the Art Center. I also present an in-depth analysis of the strengths and weaknesses as well as threats and opportunities available to the Art Center as identified through a SWOT analysis. After analyzing the four basic areas of this art organization including management, marketing, development and financial management, and comparing them to best practices in the field, I suggest recommendations to help remedy the weaknesses, emphasize the strengths and resolve identified problems. The steps required to implement the recommendations suggested are also presented. Finally I discuss the contribution to the Art Center including both its short and long-term effects of my participation on the organization.

In July 2011, I began to lay the foundation of the Taneycomo Festival Orchestra (TFO) in Branson, Missouri, and we completed our fourth successful concert season in June 2015. The TFO is a two-week classical music festival in Branson, Missouri that thrives on experimentation—both programmatically and institutionally—and community building through music. I wanted to create something that is satisfying for musicians and accessible to modern audiences. This is its mission: The Taneycomo Festival Orchestra is a nonprofit organization that provides a free two-week concert series of classical music in Branson, Missouri. We seek to break the 19th century tradition that attending a symphony concert is a formal and elitist event by providing an accessible and casual series of concerts and educational programs while continuing to preserve these great works of art in our destination city. Come as you are and enjoy the beautiful music! I embarked on this adventure with little administrative experience. However, I had a strong background in clarinet performance and music composition, a great network of friends and colleagues, and determination to bring my dream to fruition. In laying the TFO's foundation, I completed almost every administrative task on my own. I filed all of the legal documents (Articles of Incorporation, Employee Identification Number, and 501(c)(3)) successfully and without any legal aid. In the first year, I also recruited thirty-five musicians to perform in the orchestra and programmed eight concerts (two orchestral, six chamber) for the two-week series. In 2015, we had one hundred musicians and gave fourteen concerts (four orchestral, nine chamber, one big band) over the course of our two-week series. Our programming is diverse and includes standard repertoire, contemporary repertoire, commissioned repertoire, children's programming, and jazz. Our venues are eclectic and include schools, hotels, cafés, bars, shops, churches, and homes. We save a lot of money while simultaneously engaging the community by placing each of our traveling musicians with host families and providing the orchestra with nightly dinner parties at various community members' homes. The Festival continues to grow and is immersed deeper into the community each year. After our fourth season, community members have remarked that the TFO is no longer a luxury but a necessity. This paper is a concise guide to music festival creation for performers. It discusses the path that I took to create the Taneycomo Festival Orchestra and reveals the successes and failures of the process. I started the Taneycomo Festival Orchestra to make classical music more accessible, enjoyable, and relevant to a modern, rural community. The events created under these circumstances are often high-quality musical experiences that are fun for audiences. I also aspired to separate music festival creation from traditional institutional structure. If a performer takes a similar path and wishes to create such an organization, he or she will have little to no familiarity with the traditional or nontraditional institutional structures. My unique perspective offers a multidisciplinary approach to music festival foundation. Most of this paper is structured around a narrative about my experiences in running TFO, but also refers to many valuable resources to aid the beginning arts administrator in the creation and management of a music festival. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2015. / November 13, 2015. / Branson, Festival, Music, Nonprofit, Orchestra, Taneycomo / Includes bibliographical references. / Deborah Bish, Professor Directing Treatise; Steven Kelly, University Representative; Eva Amsler, Committee Member; Anne Hodges, Committee Member.

This qualitative, soft-systems case study examined the digital strategy development process at a large Midwest art museum in the United States. The study explored the process of working together to create the strategy, the role of education, and the general form of the development process through a soft systems lens. The findings of this case study include the importance of open communication and organizational flexibility in order to arrive at a digital strategy, the importance of an outside consultant to guide the process, and the role of the educator as an advocate for big picture thinking in the process. While this study provides an in-depth look at digital strategy development, further research is necessary to understand the long-term effects and success of digital strategies in the art museum. Regardless, this study argues for opportunities for digital strategy development in smaller to mid-sized museums, placing educators as important advocates of evaluation of the digital strategy process, and maintaining organizational flexibility in developing digital strategies. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2019. / March 1, 2019. / art museum, digital strategy, soft systems, systems thinking / Includes bibliographical references. / Ann Rowson Love, Professor Directing Dissertation; Paul Marty, University Representative; Pat Villeneuve, Committee Member; Jeff Broome, Committee Member.

Den fria scenkonsten är den scenkonst som produceras utanför institutionerna. De föddes under 70-talets kulturreform och har sedan dess blivit en stabil del av kulturutbudet och producerar idag runt 20 % av all teater i Sverige (Svenson, 2008, s. 56). Men även om den fria scenkonstens roll är stabil och självklar så är de ekonomiska villkoren hårda och det kulturpolitiska landskapet svårt att manövrera. För trots att de fria grupperna producerar 20 % av all teater så får de bara 6 % av anslagen (ibid.), det betyder att de i snitt gör produktioner för ¼ av kostnaden på institutionerna. Syftet med uppsatsen är att undersöka vilka ekonomiska strategier som växt fram inom fältet samt hur det ekonomiska läget påverkar dels välmående och psykisk hälsa och dels fältets självbild. För att ta reda på detta har producenter från sju av Stockholms fria teatergrupper intervjuats. Resultaten visar att de ekonomiska strategierna ofta är omfattande och komplexa, speciellt hos de mer seniora producenterna. Det pratas om ett skifte, från fri teater med allt fokus på konstnärliga värden till en mer professionell teater i en konkurrensutsatt omvärld. Producenterna vill ta teatern från vad de uppfattat som en navelskådande syn på den egna verksamheten och verklighetsfrånvänd inställning till bidrag till ett mer självkritiskt och realistiskt förhållningsätt. Gällande välmående och psykisk hälsa är den oroväckande, sex av sju producenter vittnar om psykisk ohälsa nu eller tidigare, och flera av dem uppger allvarliga psykiska problem som ett resultat av deras arbetssituation, och främst är det den dåliga ekonomin som uppges som orsak till ohälsa och stress, men det finns även problem med producentens arbetsroll som innebär mycket ansvar men ofta otydliga mandat. Det finns en ambition hos de fria grupperna att bedriva sin verksamhet professionellt och arbetsmiljövänligt, med trygga anställningar och långsiktig planering men detta omöjliggörs inom den rådande kulturpolitiken som ger bidrag ett år i taget och som konsekvent ger lägre bidrag än det söka beloppet, vilket tvingar producenterna att sänka lönerna och förkorta anställningsperioderna.

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