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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 7 of 7 (0.075 seconds)Spelling suggestions: "subject:"artsy funding"" "subject:"arts2 funding""
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Government and Private Funding of Nonprofit Visual Arts Organizations in the State of Texas: An AnalysisHoward, Maurine C. (Maurine Carroll) 12 1900 (has links)
The problem addressed in this study is the administrative process and criteria used by nonprofit visual arts organizations in the State of Texas in acquiring government and private funding. The purposes of the study were to examine the organization and administrative process of the nonprofit visual arts organization, to determine the criteria utilized by government and private funding sources for distribution of funds to nonprofit visual arts organizations, and to examine the process used by nonprofit visual arts organizations when acquiring funds from government and private sources. The data were obtained by means of a descriptive survey questionnaire which was mailed to 336 selected nonprofit visual arts organizations in the State of Texas. These organizations represent the following six areas of visual art: foundations, galleries, museums, associations, photography, and schools. From these areas the population was further refined to include only museums and associations, which represent the extreme diversity of administrative processes used. The resulting subpopulation was comprised of forty-six organizations which had filed for grants from the Texas Commission on the Arts within the past three years. Thirty research questions were answered from the results of the questionnaire. Research questions one, and three through thirty were analyzed and presented in narrative discussion with the results. Categorical data were listed to show range. The second research question was analyzed using the Pearson Product-Moment Correlation Coefficient. On the basis of the literature review and the survey responses received, an authentic problem exists in the funding process of these organizations. The organizations surveyed appear to recognize the funding problems, but the results of the study reveal that many have yet to develop effective and efficient strategies to solve several of these problems.
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Nation building and globalisation in the visual arts: A case study of art projects of the Greater Johannesburg Metropolitan Council (GJMC)Duncan, Jane 19 May 2008 (has links)
This thesis explores the tensions between nation building and
globalisation in relation to state-sponsored visual arts projects, focusing
on the Biennale project of the Greater Johannesburg Metropolitan Council
(GJMC). It explores the extent to which this project - aimed initially at
internationalising and then globalising South Africa’s art world following
the demise of apartheid in 1994 - was compatible with key nation building
objectives for state funding of the arts, captured imperfectly in the
country’s Reconstruction and Development Programme (RDP). It is found
that the Biennale project was largely not compatible with the RDP’s
objectives for state funding, namely to promote national unity while
respecting the country’s cultural diversity, redress imbalances of the past
in access to the arts, and promote culture as a component of South
Africa’s development, in spite of the GJMC’s statements to the contrary.
Rather the Johannesburg Biennale reproduced the dialectic of economic
inclusion and exclusion endemic to the political project of globalisation,
leading to the creation of economic and artistic ‘insiders’ and ‘outsiders’
akin to the ‘First World’ and ‘Third World’ divide that the RDP warned
against in its principle on nation-building, and proved to be an
inappropriate use of state resources given the divided nature of the South
African artworld. Furthermore, the GJMC imported uncritically an
exhibition form associated with the discourse of internationalisation in the
first Biennale, and then globalisation in the second, from other Biennales,
based on contestable theoretical positions on nationalism and
globalisation. This they did in an attempt to address a growing financial
crisis in the city by using a ‘one size fit all’ set of policy prescriptions falling
under the rubric of neo-liberalism, including culture-led methods of
enhancing a city’s global status to attract foreign revenue. In particular,
the Biennale did not learn the lesson that the shift in focus in other
Biennales from internationalisation to globalisation, was also accompanied
by growing discontent in these countries about the elitist nature of these
events. I also consider whether it is possible to devise an alternative
Biennale project that uses international contact to unite the South African
artworld, rather than dividing it.
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L’évaluation des pairs, la prise de décisions et les critères de la qualité au Conseil des arts et des lettres du Québec : le cas des arts visuels contemporainsMisdrahi Flores, Marian 01 1900 (has links)
Notre étude porte sur le programme d’appui à la création en arts visuels contemporains du Conseil des arts et des lettres du Québec (CALQ). La question soulevé habituellement ce type de programme qui s’appuie sur l’évaluation par les pairs est la suivante : les décisions sont-elles « biaisées »? Mais derrière cette question, il y a en a une autre, plus fondamentale : sur quels critères se base l’évaluation? Nous nous intéressons à comprendre le rapport entre l’évaluation de la qualité artistique et l’attribution de bourses. Plus spécifiquement, nous cherchons à analyser comment sont déterminées la qualité et la valeur d’une candidature en arts visuels, sur quels types d’arguments et de critères s’appuie l’évaluation artistique et par quels moyens cette dernière pourra créer une iniquité entre les candidats. Il s’agit donc d’une recherche qui relève de la sociologie de l’art, mais d’une sociologie qui prend en compte le contexte institutionnel et dont l’objet sont les valeurs qui sous-tendent l’évaluation artistique, dans le cadre d’une organisation autonome de subvention des arts.
Dans cette perspective, les valeurs artistiques ne se définissent pas ex nihilo mais in situ, dans des situations (ex. comités d’évaluation) et dans un contexte institutionnel précis (le CALQ). L’évaluation de la qualité artistique s’inscrit donc dans des dynamiques sociales concrètes et particulières qu’il nous revient d’observer et d’analyser minutieusement. Notre attention portera spécialement sur les mécanismes de prise de décision et à la construction collective des jugements. / Our study focuses on the Conseil des Arts et des Lettres du Québec (CALQ) program to support the creation of contemporary visual arts. The question that usually rises about this type of programs, which are based on peer review, is: are the decisions "biased"? But behind this question, there is another more fundamental: what criteria the evaluations are based on? We are interested in understanding the relationship between the artistic quality assessment and the fellowships. More specifically, we seek to analyze how are determined the quality and value of an application in visual arts, what types of arguments and criteria sustain an artistic assessment and by which means the latter may create inequity between candidates. Therefore our research is related to the sociology of arts; nonetheless we take into account the institutional framework and the values that underlie the artistic assessment in the context of an autonomous arts’ funding organization.
In this perspective, artistic values are not defined ex nihilo but in situ, in concrete situations, such as the evaluation committees, and in a specific institutional context, the CALQ. The artistic quality assessment is built into concrete and particular social dynamics, which compel us to observe and analyze them carefully. In this sense, our attention will particularly address the mechanisms of decision-making and the collective judgments.
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L’évaluation des pairs, la prise de décisions et les critères de la qualité au Conseil des arts et des lettres du Québec : le cas des arts visuels contemporainsMisdrahi Flores, Marian 01 1900 (has links)
Notre étude porte sur le programme d’appui à la création en arts visuels contemporains du Conseil des arts et des lettres du Québec (CALQ). La question soulevé habituellement ce type de programme qui s’appuie sur l’évaluation par les pairs est la suivante : les décisions sont-elles « biaisées »? Mais derrière cette question, il y a en a une autre, plus fondamentale : sur quels critères se base l’évaluation? Nous nous intéressons à comprendre le rapport entre l’évaluation de la qualité artistique et l’attribution de bourses. Plus spécifiquement, nous cherchons à analyser comment sont déterminées la qualité et la valeur d’une candidature en arts visuels, sur quels types d’arguments et de critères s’appuie l’évaluation artistique et par quels moyens cette dernière pourra créer une iniquité entre les candidats. Il s’agit donc d’une recherche qui relève de la sociologie de l’art, mais d’une sociologie qui prend en compte le contexte institutionnel et dont l’objet sont les valeurs qui sous-tendent l’évaluation artistique, dans le cadre d’une organisation autonome de subvention des arts.
Dans cette perspective, les valeurs artistiques ne se définissent pas ex nihilo mais in situ, dans des situations (ex. comités d’évaluation) et dans un contexte institutionnel précis (le CALQ). L’évaluation de la qualité artistique s’inscrit donc dans des dynamiques sociales concrètes et particulières qu’il nous revient d’observer et d’analyser minutieusement. Notre attention portera spécialement sur les mécanismes de prise de décision et à la construction collective des jugements. / Our study focuses on the Conseil des Arts et des Lettres du Québec (CALQ) program to support the creation of contemporary visual arts. The question that usually rises about this type of programs, which are based on peer review, is: are the decisions "biased"? But behind this question, there is another more fundamental: what criteria the evaluations are based on? We are interested in understanding the relationship between the artistic quality assessment and the fellowships. More specifically, we seek to analyze how are determined the quality and value of an application in visual arts, what types of arguments and criteria sustain an artistic assessment and by which means the latter may create inequity between candidates. Therefore our research is related to the sociology of arts; nonetheless we take into account the institutional framework and the values that underlie the artistic assessment in the context of an autonomous arts’ funding organization.
In this perspective, artistic values are not defined ex nihilo but in situ, in concrete situations, such as the evaluation committees, and in a specific institutional context, the CALQ. The artistic quality assessment is built into concrete and particular social dynamics, which compel us to observe and analyze them carefully. In this sense, our attention will particularly address the mechanisms of decision-making and the collective judgments.
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The Language of Cultural Policy Advocacy: Leadership, Message, and Rhetorical StyleHeidelberg, Brea M. January 2012 (has links)
No description available.
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Geopolitics of Translation: An Economic Analysis of the National Endowment for the Arts' Literature Translation Fellows ProgramMorrow, Paul 05 May 2008 (has links)
No description available.
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The Rebellious Mirror,Before and after 1984:Community-based theatre in AotearoaMaunder, Paul Allan January 2010 (has links)
In this thesis I outline the contribution Community-based theatre has made to New Zealand theatre. This involves a defining of theatre production as a material practice. Community-based theatre was a tendency from the 1930s, a promise of the left theatre movement and, I argue, was being searched for as a form of practice by the avant-garde, experimental practitioners of the 1970s. At the same time, early Māori theatre began as a Community-based practice before moving into the mainstream.
With the arrival of neo-liberalism to Aotearoa in 1984, community groups and Community-based theatre could become official providers within the political system. This led to a flowering of practices, which I describe, together with the tensions that arise from being a part of that system. However, neo-liberalism introduced managerial practices into state contracting and patronage policy, which effectively denied this flowering the sustenance deserved. At the same time, these policies commodified mainstream theatre production.
In conclusion, I argue that in the current situation of global crisis, Community-based theatre practice has a continuing role to play in giving voice to the multitude and by being a practice of the Common.
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