This report documents a one semester internship with the Arts Council of New Orleans. Through a detailed description of specific projects completed, the intern shares information regarding challenges and observations. Specifically, observations deal with management structure and office efficiency. The report concludes with recommendations for improvement in these areas.

From February 23 through May 10, 2005, I am an intern at the Arts Council of New Orleans in the Department of the Fresh Art Festival. The internship was approved by my Graduate Committee and confirmed by the Arts Administration Department at UNO. It fulfills the requirements for the degree of Master of the Arts in the Arts Administration Program at UNO. My Graduate Committee is composed of one Major Professor and two committee members. The Major Professor is A. Lawrence Jenkens, Jr., who is a professor in the Fine Art Department at UNO. The other two committee members are Donald Kaye Marshall, who teaches in the Department of Arts Administration at UNO and Elizabeth Williams, who teaches in the Department of Hotel, Restaurant & Tourism at UNO as well. My internship mainly focuses on the Fresh Art Festival; therefore, the Coordinator of the Festival, Barbara Workman, is my on-site supervisor. However, I only get one hour of work to do every day due to the fact that my time there is not the busiest time for the Festival. But with Ms. Workman's consent, I could read all the files about the Festival and got a chance to review and study the Festi val. I also got a chance to assist one of the Arts Business Incubator's tenants, CubaNola Collective, with its lecture events. Under the special condition of my internship (See Chapter 4 & 5), I decided to turn it into a studying process, instead of a working experience. Therefore, the following report profiles the Arts Council of New Orleans (most of it is cited from the Arts Council's Fact Sheets, "Agency Operations Narrative," and website under its consent), and details as well as analyzes the Fresh Art Festival.

On May 6, 2002 I began my internship with the Arts Council of New Orleans. The Arts Council of New Orleans is a private, nonprofit organization that provides a variety of cultural planning, advocacy, public art economic development, arts education, and grant initiatives to the city of New Orleans and surrounding areas. Since its creation in 1975, the Arts Council has been the official arts agency for the City of New Orleans. My role at the Arts Council was to work in the Marketing and Development Department, with the major task of updating the annual Arts Directory. Besides work on the directory, my time was spent working for other divisions of the Arts Council, including the Entergy Arts Business Center, the Grant Department and Louisiana ArtWorks. The following report is the analysis of a three-month internship with the Arts Council of New Orleans. It begins with a look at the organization's history, staff and programming and then focuses on the internship's assignments. The purpose of the internship was to gain experience working in a nonprofit arts organization, tying together all ofthe concepts that are studied in the courses of the Arts Administration Program. My internship at the Arts Council of New Orleans was an overall learning experience of the many facets of a nonprofit arts organization.

The Arts Council of Greater New Orleans was founded in 1975 in response to the recommendation of the City of New Orleans Cultural Resources Committee appointed by former Mayor Moon Landrieu. With primarily private support, the Arts Council initiated projects such as monumental sculpture exhibitions around the city, a weekly radio program, an arts hotline, and an arts program for the city's Downtown Development District, including six weeks of outdoor Brown Bag concerts at lunchtime and an annual downtown arts festival.

From May 19 through August 20, 1993, Craig Cunningham interned at the Arts Council of New Orleans and the Entergy Arts Business Center, which is operated by the Arts Council of New Orleans. The internship was approved by the intern's Graduate Committee and confirmed by the Arts Administration Advisory Committee. It fulfills the requirements for the degree of Master of Arts in Arts Administration. The internship focused around two main projects, production of the annual Arts Directory, and the Louisiana Volunteer Lawyers for the Arts. The on-site supervisors were the Assistant Director, Mary Kahn, and the Executive Director, Shirley Trusty Corey. The following report profiles the Arts Council of New Orleans, details the internship, analyzes the management structure of the Arts council, and analyzes the impact of the internship upon the organization.

From May 11, 1987, through August 14, 1987, Rebecca Jean Bossert interned at the Arts Council of New Orleans. The internship was approved by the intern's Graduate Committee and confirmed by the Arts Administration Advisory Committee. It fulfills the requirements for the degree of Master of Arts in Arts Administration. The internship encompassed duties involved with the coordination and execution of the Partnership Grants Program and the Municipal Endowment Grants for the Arts Program, which were administered by the Arts Council of New Orleans. The first few weeks of the internship were supervised by Ginny Lee McMurray, Assistant Director, who took maternity leave beginning June 3. The remainder of the internship was supervised by Joycelyn L. Reynolds, Grants Coordinator. The following report profiles the Arts Council of New Orleans, describes the internship, analyzes management challenges posed by the internship, offers recommendations for the resolution of these challenges, and discusses the effects of the intern's contribution to the organization.

Thesis (D.M.A.)--University of Oklahoma, 1995. / Includes bibliographical references (leaves 241-249).

This study considers the development of the children's services within the Community Arts Council in relation to arts programs for children in the City of Vancouver. The changing emphasis of the program from 1947 to 1954 is examined through the records of sponsored classes, the minutes of meetings and interviews with class leaders, agency directors and class participants. The changing philosophy of the artist in the practice of his profession and the increased interest in the development of art programs for children in leisure-time settings has brought the artists and the recreation leaders together. Within the recreation field, the use of the social work method and the demand for the fulfilment of the social agencies' objectives through program have strained relationships between the artist and program staff. As the community agency establishes its role in the sponsorship of arts programs the agency adopts a responsibility for understanding the objectives and methods of the artist, who in turn must accept the philosophy and objectives of the agency. The Community Arts Council has demonstrated the need for mutual effort if the objectives of both are to be realized for the benefit of the child. The Children's Program project clarifies the factors which have disturbed the effective use of art specialists in the agencies. It also indicates the possibility of future development within the Community Arts Council to further co-operative planning to ensure sufficient skilled leadership and standards for cultural services. / Arts, Faculty of / Social Work, School of / Graduate

This thesis examines the role of the modern democratic state as a sponsor of literature in the English-speaking world between 1945 and 2000. Working with, and modifying, Bourdieu's conception of the literary field, it considers the often paradoxical consequences of the state's shift from censor to guarantor in this period. Granting 'official autonomy' in this way had numerous unexpected and often fraught effects on the writers, readers and institutions that shaped the literary field. To keep this large subject firmly based on available historical evidence, this thesis considers a series of distinct 'moments' of state intervention through detailed case studies of three specific institutions: the international Congress for Cultural Freedom (1960-1968), the Arts Council of Great Britain (1960-1990), and the private examination boards that implemented the National Curriculum in the UK (1989-2000). In each case, it shows how these different but related moments, and the larger diachronic narrative of which they form a part, take place against a backdrop of interlinking historical and socio-political transformations, including the Cold War, decolonisation and multiculturalism. Drawing on evidence in literary and other public archives, the thesis not only brings into view questions about the public status of literature in recent history, it shows how an understanding of the state's role enables us to think differently about the cultural consequences of modern democratic liberalism. The methodological emphasis it places on institutions challenges critical and popular orthodoxies, associated chiefly with the liberal tradition, which conventionally set the overbearingly powerful and monolithic state against the inescapably vulnerable but also courageous individual. The alternative picture that emerges reveals a world in which the actions of various individuals can be understood partly via the institutional roles they perform, and institutions operate as sites that negotiate competing ideas of literature and literariness, and implement state power in variegated, diffuse and contested ways. Each of the case studies provides a different, though comparable, perspective on this larger picture. As such, the thesis opens up a nuanced way of analysing the interventions of writers, critics and reading communities, while also offering a differentiated approach to understanding the state and its evolution.

In 1988, Canada enshrined multiculturalism into law, a democratizing manoeuver that allowed practitioners of non-Western and non-classical forms of music to agitate for equitable access to public arts funding. This agitation ultimately forced government-funded Canadian arts councils to re-examine their Eurocentric granting programs and to expand the parameters by which they fund music. Today’s arts council peer assessors must now assess applications covering a broad range of musical genres and differing aesthetic values, and must incorporate into their evaluations the councils' sociopolitical priorities emphasizing diversity and inclusivity. Yet, few assessors understand why and how identity politics informs the contemporary music-making of ethnocultural minorities and how collectively held stereotypes influence Canadians’ expectation for ethnocultural representation. In this thesis, I endeavour to separate the historical, sociopolitical and philosophical threads that have contributed to the current musical environment in Canada. I begin by examining the parallel histories of funding for high culture—which led to public arts funding—and early celebrations of multiculturalism. I then examine liberal democratic philosophy and how it fostered the “politics of difference” that characterizes Canadian multiculturalism. Although liberal democracy holds that each citizen be recognized as equal and have equality of opportunity to nurture his or her individual, authentic self, Canadians have historically treated ethnocultural minorities unequally, resulting in the latter pursuing politics of difference based upon collective characteristics. Collective difference politics, though, are prone to stereotype. In the Canadian music world these stereotypes are manifest in external desires for authentic ethnocultural representation, which can overshadow a minority musician’s ability to cultivate a unique musical voice. I devote the second part of my thesis to examining the effects of equity initiatives on Canadian arts councils. Based upon interviews with music and equity officers from the Canada Council, the Ontario Arts Council and the Toronto Arts Council, I show how the dichotomy between collective and individual authenticities results in unequal modes of assessment that perpetuate both ethnocultural stereotypes and Western classical music’s monopoly over funding, limiting our definitions of Canadian music.