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A Brief History of Arts Management at the University of Oregon
A long time ago, in a school called A&AA: 1960s - 1990
Arts and Cultural Leadership is rooted in a long history at the University of Oregon. The program originally began as the Department of Arts Education (ARE). ARE was primarily a graduate program, home to 67 masters and 18 doctoral students. Although oriented toward education, the department had a strong focus on community arts and cultural services. This can be attributed to the direction of several well-known faculty members, including June King McFee and Vincent Lanier, who focused heavily on topics of cultural pluralism and the role of art in society.
A force awakens: 1991 - 1996
In 1991, dedicated faculty including Doug Blandy, Rogena Degge, Linda Ettinger, Beverly Jones, and Maitland-Gholson, began transitioning the Department of Arts Education to the Department of Arts Administration (AAd). By the fall of 1993, the new program was ready to greet its first students. During this same time, Doug Blandy reinvigorated the UO Institute for Community Arts Studies (ICAS), a research organization of School of Architecture and Allied Arts (now College of Design). ICAS engaged in community arts and cultural policy research and houses work done by AAd alumni. ICAS later became the Center for Community Arts & Cultural Policy (CCACP).
A new hope: 1997 - 2016
The late 1990s and early 2000s were a time of much growth within the program. In 1997, CultureWork: A Periodic Broadside for Arts and Culture Workers, a platform through the CCACP, began publication. Shortly after, in 1998, Doug Blandy began his tenure as AAd Program Director. During this time, a focus on mentorship, as well as digital communication and curricula, presented new opportunities and areas of interest. Several additions to faculty including Janice Rutherford (2002), Patricia Dewey (2003), and Lori Hager (2005), brought diverse backgrounds developing the performing arts and community arts concentrations. Adjunct faculty, including Eric Schiff, Julie Voelker-Morris, and Kassia Dellabough, offered expertise in technology, cultural programming, and career development, respectively.
Julie Voelker-Morris worked to develop a robust and burgeoning undergraduate program at this time while taking over as Director for the CCACP. Kassia Dellabough accepted a position as the Director of Student Services while Patricia Lambert went on to become Program Director and Doug Blandy took on the position of Vice Provost.
Bureaucracy strikes back: 2016 - 2017
In 2016-2017, massive restructuring took place within UO School of Architecture and Allied Arts, which became the new UO College of Design effective fall 2017. The Arts and Administration Program was merged with the Department of Planning, Public Policy and Management to form the new School of Planning, Public Policy and Management. As such, this academic field its affiliated research center (the former Center for Community Arts and Cultural Policy) are now embedded within the School of Planning, Public Policy and Management.
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Item Open Access Item Open Access 2017-2018 Graduate Student Research Journal(2018-07) Center for Community Arts & Cultural PolicyItem Open Access The Impact of the Oregon Cultural Trust on the Statewide Cultural Policy Institutional Infrastructure(Center for Community Arts and Cultural Policy, University of Oregon, 2018-06-12) Cummins, Joshua; Fernandez, Milton; Flinspach, Jennie; Hobbs, Brianna; Lambert, Patricia; Lee, Victoria; Rutter, Juliet D.; Sokolowski, Jes; McMullen, Bradford; Rogers, J. K.Parallel to a similar study commissioned by the Oregon Cultural Trust in 2017-2018, the University of Oregon (UO) Arts and Administration program partnered with senior staff of the Oregon Cultural Trust and the National Assembly of State Arts Agencies on a research project investigating the impact of the Oregon Cultural Trust on the statewide cultural policy institutional infrastructure. These studies were designed to be complementary. Whereas the commissioned study was intended to be advocacy research, the UO research initiative planned a rigorous year-long academic applied research project conducted by a faculty-led team of nine graduate students. Throughout the academic year, the team investigated two main research questions supported by multiple sub-research questions. Research methods included literature review, document analysis, key informant interviews, and surveys. The main research questions were the following: 1. What is the role of the Oregon Cultural Trust within the statewide cultural ecology? 2. How does the Oregon Cultural Trust compare with other state-level cultural funding mechanisms that exist across the United States? Research findings from collective and individual research conducted throughout 2017-2018 were integrated into the full research report. The Professional Project team’s analysis led to structuring the final report in two sections: first, an introduction to the cultural policy infrastructure within the state of Oregon and the evolution of the Oregon Cultural Trust, and second, analysis of the impact of the OCT on the statewide cultural policy institutional infrastructure. The discussion of impact focuses on three areas: (1) impact on the internal infrastructure-development activities taking place within the OCT; (2) impact on select issues pertaining to cultural development across the state; and (3) economic impact.Item Open Access Grow Art: You're in Business(2018-06-08) Navarro, SophieThe purpose of this graphic memoir is to show how artists can create a sustainable and viable art business. This guide book offers artist entrepreneurs and designers tools that support the career of an artist. I chose the graphic style to show my work as an example of how I process my own approaches to creating and promoting my work. All illustrations are made by me.Item Open Access The New Museology in Museum Practice in China: A Case Study in Hubei Provincial Museum(2018-06-07) Lu, SisiAs one of the major lifelong learning possibilities outside the education system, museums have always been an important venue to the public. Throughout their long history, there has been a major shift in museology from being a collections-centered museum to a visitor-centered museum in recent years. As China develops economically, museums have become greater in number, size, and scope. However, Chinese museums might neglect the importance of the visitor experience. With a framework of new museology and models a new participatory museum, this research project attempts to understand the visitor-centered practice in China through document analysis and a case study of the Hubei Provincial Museum in Hubei, China. This study intends to understand the implementation of theory into practices and offer useful recommendations to the museum professionals in China.Item Open Access Major American Symphony Orchestras and the Fundraising Gala(2018-06-06) Bayouk, AlexaVirtually every large symphony orchestra holds a fundraising gala. Formal events like these are costly in terms of both time and monetary resources, yet they yield a relatively small profit when compared to direct solicitations for funds. Nevertheless, special events serve important purposes beyond fundraising, like stewardship, networking, and prospecting, so they are worth the time and energy for most organizations. This research project looks at the galas of 10 symphony orchestras in the United States (nine of which have budgets over $20 million) and compares the use of various gala components, dollars raised, and staff perceptions. The purposes of this study are to 1) gain a better understanding of which gala elements contribute to the event’s success, 2) find other gala purposes and ways to measure a gala’s success beyond just fundraising, and 3) discover the unique ways that symphony orchestras are utilizing the gala model in comparison to non-performing arts nonprofits. This master’s project culminates in six major recommendations as well as a Symphony Orchestra Gala Planning Toolkit, which includes timelines, checklists, and evaluation forms.Item Open Access How Architectural History Can be Taught in the K-5 Classroom Using Picturebooks(2018-06-06) Shaw, JordynArchitecture, and architectural history, is not typically a focus of art education in the K-5 classroom. In this study I aim to demonstrate how picturebooks can be used as a tool in the K-5 classroom to teach architectural history. This study was modeled after Sipe’s (2001) article Using Picturebooks to Teach Art History. I analysed eighty-six picturebooks based on a specific criteria, choosing books that have been: (1) published or republished in the past 20 years; (2) have a strong narrative quality in text; (3) allude to architecture and have architecture as part of the integral setting; and (4) are set at a K-5 reading level. I arranged the eighty-six books into four types: (1) Tours; (2) Building Practices/Principles; (3) Stories of Architects: Real, Child, or Animal; and (4) the Architecture of Houses and Homes. Within the Tour type, I found three subtypes called the “City Tour,” the “State/Country Tour,” and the “Cross-Country/World Tour” subtypes. I addressed each type and subtype, discussing themes that appeared. In talking about the themes and subtypes, I also address “what can be taught,” giving specific examples of how these themes and subtypes can be used in the classroom. In these sections I discuss the National Core Arts Standards (Standard, 2014) and the National English Language Arts Standards (“English Language Arts Standards,” 2018) that pertain to the subtypes and themes. Lastly I address representations of Medieval architecture in picturebooks. I address a specific time period within architectural history, and discuss what could be taught in the classroom using picturebooks as a resource. Using twelve picturebooks I looked at representations of churches; castles; other buildings; and building principles, practices, and concepts. In these sections I discuss what can be taught along with any inaccuracies and inconsistencies that appear in the picturebooks when compared to current scholarship on the subject.Item Open Access Biculturalism at Otago Museum: A Case Study(2018-06-06) Underwood, Avery, Wailes PoveliteOtago Museum in Dunedin, New Zealand, is an institution in the beginning stages of a museum-wide shift towards biculturalism. Presently, the Museum largely operates under a western museology, and the shift to biculturalism means not only are objects and content interpreted in the traditional western style, but also with respect to the worldview and with the authority of the indigenous Māori people of New Zealand. A bicultural museum model decolonizes the museum institution by giving authority and agency back to indigenous peoples, creating a more comprehensive and inclusive museum. Approaching this research project with a framework of biculturalism and bicultural practices as detailed by Conal McCarthy in his 2011 Museums and Māori , this research intends to detail and better understand the current and future bicultural practices of Otago Museum through interviews with key staff members, observations of Otago Museum spaces, and analysis of the Museum’s documents. This research aims to provide a better understanding of the Museum’s bicultural practices and shift with the hope that the findings provide useful lessons for museums in the rest of New Zealand and the world.Item Open Access (Mis)representations of History: Displays of Difficult History in Oregon Community Museums(2018-06-06) Engel, IsabelIn Oregon, the vast majority of community museums are history museums focusing on local history. According to the Oregon Museums Association, of the 58 museums registered with them, 52 of those museums are focused on local and regional history. These museums have largely focused on pioneer history and display how white Europeans settled the land. While this is one aspect of Oregon history, many Oregon community museums fail to display difficult histories, or history that recalls trauma, oppression and/or violence. With current museology focusing on the diversification of exhibits through the inclusion of difficult histories, there is an apparent disconnect between this research and actual practice in Oregon museums. In this research project, I critically analyze visual representations at eleven (11) Oregon community history museums through site observations, document analysis and with three (3) of the museums, through interviews of curators and/or museum directors. I argue that as important sites of history and community outreach, these museums miss opportunities to educate the public and include minorities that have largely been left out of the Oregon narrative.Item Open Access Visitor Reception in Collaborative Museum Exhibits(2018-06) Schmith, ErinAs museums seek ways to attract wider audiences and increase their relevance to more people, collaboration with community groups has become common practice. Museums are using multiple models for these collaborations, which often include working with people whose perspective has traditionally been left out of the mainstream museum narrative. While many studies on these processes have been conducted, very few focus on visitor reception of information about the process of collaboration that went into the exhibit. Those studies that do exist show that the visiting public is unaware of this work and therefore a key opportunity to engage the public around issues of decolonization, legitimizing worldviews outside of the mainstream narrative, and democratization of museum processes is lost. This project focuses on collaboratively designed exhibits at the Portland Art Museum and is an examination of the processes involved, how the museum is communicating with visitors about their collaborations, and whether those communications are effective.Item Open Access Engaging Under-Represented Communities: A Comparative Analysis of Professional Symphony Orchestras(2018-06) Wagner-Watt, LaurenThis Master’s Research Project looked into the various ways that professional symphony orchestras are engaging with their community, specifically with under-represented populations. The paper begins with an overview of the American symphony orchestra, and clarifying why it is now needing to engage more with its community rather than only performing concerts. The research also presents various literature reviews and comparative analyses that shed light on what is currently being offered by symphony orchestras around the country, including an indepth exploration of community engagement and education programming around the country. The study then focuses on comparative case studies highlighting the programs and populations being served by the Seattle Symphony, Oregon Symphony, Eugene Symphony and the Boise Philharmonic. This project found that there is a wide variety of programming for underrepresented populations and is usually specific to the community that the symphony represents. A major focus among professional symphony orchestras is centered around diversity, equity and inclusion, with many looking to develop initiatives within the entire organization.Item Open Access Activating Place Identity: Programmatic Shifts in the Outdoor, Public Spaces of Downtown Eugene(2018-06) Schenter, MelissaThis study examines the City of Eugene’s adoption of creative placemaking practices in an effort to positively alter the identity of its Downtown- focusing on the resultant shifts in programming methods, and on the complex role of artistic producers within it’s outdoor, public spaces. Recognizing “place identity” as existing in the combination of both tangible and intangible elements, this project applies a framework of performance theory to analyse the “mechanisms of action” which work to normalize behaviors within physical spaces, thus influencing perceptions of place. Based largely on 15, semi-structured interviews with City programmers and community arts leaders, the findings of this project focus predominantly on the concept of “activations”- an emergent style of arts programming born from the creative placemaking movement, and inspired in Eugene by the 2016 Downtown Assessment conducted by the Project for Public Spaces (PPS). Interviewees differentiated activation programming from event programming, describing the former as being more ambient, ongoing, inclusive, and as creating a greater link between the arts and city infrastructure. Importantly, activations provide more varied modes of engagement, and have the potential to more subtly influence behavior patterns over time. Through these interviews, it became apparent that current city infrastructure struggles to support artistic activities. However, Eugene has adopted strategic partnership models to work towards addressing downtown’s identity crisis, which involve intentional arts programming. Following the work of PPS, the Mayor, City Council, and leaders across various City department pulled together a diverse team of city staff to form the “Downtown Operations Team.” As a result, arts programmers voices have been brought to the table in strategic, downtown revitalization efforts, allowing them to work alongside leaders in areas such as Facilities, Transportation Options, and Planning & Development. Through these collaborations, City programmers and arts leaders have adopted a necessary sensitivity in their work, in order to complement the efforts of social services and public safety providers. The conclusion of this research argues that the City of Eugene’s shift towards activation programming is a move in the right direction. Because activations are more accessible to differing populations, and more conscious to the various entities working within these public spaces, they could be especially useful for addressing the current needs of Downtown Eugene. To sustain this type of programming, however, more flexible public spaces are needed. Additionally, because activations require strong links between artists and city infrastructure, continued strategic collaborations, such as the City’s “Downtown Operations Team”, are a necessity- with City divisions such as Cultural Services and Planning & Development acting as leading intermediaries. Ultimately, these programmatic shifts will help to introduce new levels of sociability to these spaces, and increase Downtown Eugene’s ability to act as a civic heart to the community.Item Open Access CultureWork ; Vol. 22, No. 2(Center for Community Arts & Cultural Policy, Arts & Administration Program, University of Oregon, 2018-05) SV Flys, Elena; Fletcher, Tina; Eckberg, Jon; Blake, Amanda B.; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-This final issue is a fitting tribute to the beginning of CultureWork. The first article published by founding editor, Doug Blandy, explored website accessibility to users with disabilities. This double issue of CultureWork features two articles focused on accessibility for specific audiences in traditional arts venues: First, Elena SV Flys explores ways in which theatrical performance can be enhanced through well designed audio and visual tools that communicate with a wide variety of audience members. Then, a collection of authors affiliated with work at the Amon Carter Museum in Fort Worth, TX share outcomes of an art-based occupational therapy program targeted for families with children on the autism spectrum.Item Open Access CultureWork ; Vol. 22, No. 01(Center for Community Arts and Cultural Policy, Arts & Administration Program, University of Oregon, 2018-03) Guerriero, Maria; Jarvis, Kelly; Vaughn, Deborah; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-This issue features collaborators from the Connecting Students to the World of Work (WoW) grant program implemented by the Oregon Arts Commission (OAC). Collaborators included a member of the OAC staff, a contracted researcher, and a contracted graphic designer. In this article, these three authors share how they determined a key design style to convey a complex message about program assessment data to a variety of audiences. They provide recommendations for establishing relationships and trust among an evaluation communications team as well as responsibility for how data sets are communicated to funders, policy makers, and general audiences.Item Open Access Program Design of Community-Based Arts Programs that Address Public Health Issues(2018) Dedrick, MargotThere is a growing body of research in the field of arts in health and the therapeutic benefits of using art to treat illnesses. Much of this research is evidence-based and focuses on the effects of arts-based activities in healthcare facilities. However, there is a gap in knowledge concerning programs that use art to address public health issues through participatory arts projects in a community setting. This study uses evidence-based research on the therapeutic benefits of art in healthcare settings to examine how arts methods can be used not only for healing patients in hospital settings, but to take a more holistic approach in addressing individual, community, and public health and wellbeing. This research project explores current models of programs that use art to address public health through two case studies and provides recommendations for managers of such arts programsItem Open Access Curatorial Activism: Turning Activism into Practices(2018) deMontigny, BreannaMuseums are not perfect institutions-- they have a long history of marginalization of ethnicity, gender, and sexuality through “western” museological practices. With recent political upheaval, more people have been fighting for rights and recognition, and museums are put in the position of having to evaluate how they react to the changes around them. This research project is pursuing the concept of curatorial activism, as defined by Dr. Maura Reilly, in an attempt to find exhibits or displays that demonstrate museums’ increasing political activism in various sized institutions across the United States through detailed document analysis. Interviews with current museum professionals who have a history of working with marginalized groups will help to better understand institutional barriers, as well as how the role of the curator should be redefined. This research intends to provide a realistic overview of institutional change and provide a better idea of how any museum can incorporate these practices.Item Open Access Socially Infamous: Individual and Community Culture at the Notorious Burnside Skatepark(2018) Ellerbe, HamesThis research project involves sociocultural validation of the founding members and early participants of Burnside Skatepark. The group developed socioculturally through the creation and use of an internationally renowned Do fl Yourse{l(DIY) skatepark. Located under the east side of the Burnside Bridge in Portland, Oregon and founded in 1990, Burnside Skatepark is one of the most famous skateparks in the world, infamous for territorialism, attitude, and difficulty. On the other hand, the park has been built with dedication, devoid of city funding and approval, in an area known, in the earlier days of the park, as a crime infested, former industrial district. Through the do ii yourself creation of Burnside skatepark, came the sociocultural cultivation and development of the founding participants and skaters. Additionally, the creation of the park provided substantial influence in the sociocultural development of a number of professional skateboarders and influenced the creation of parks worldwide. By identifying the sociocultural development and cultivation of those involved with the Burnside skatepark, specifically two of the founders, and one professional skateboarder, consideration can be provided into how skateboarding, creating a space, and skate participation may lead to significant development of community, social integrity, and self-worth even in the face of substantial gentrification.Item Open Access CultureWork ; Vol. 21, No. 04(Center for Community Arts and Cultural Policy, Arts & Administration Program, University of Oregon, 2017-12) Lim, Benny; Brady Nelson, Meaghan; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-This late autumn issue of CultureWork explores ways in which communities enact arts and culture festivals to meet local needs, solve problems, or address health and well-being. Whether processing the outcomes of a political protest or seeking to bring families together around art making opportunities, the authors underscore interconnections between goals, values, programmatic choices, and relationships. Benny Lim describes how these attributes manifest in Hong Kong’s Umbrella Festival and Meaghan Brady Nelson through the Kids Arts Festival of Tennessee.Item Open Access Intergenerational Program Design Recommendations for Arts Organizations(2017-06-14) Bastian, HannahIntergenerational art programs bridge generations while inspiring the creative process. Although projects involving participants of different generations have been in existence for centuries, the development of intergenerational arts program design for nonprofits, museums, and senior centers is relatively new. In this new field, recent research has been promising, revealing improved health and social outcomes for older adults participating in arts programs and an increased understanding of aging for youth participating in intergenerational programs. The purpose of this study is to understand the program design behind current, exemplary examples of intergenerational arts programs. This study investigated three organizations, seeking out overarching themes and key elements. Three organizations were highlighted as case studies: Opening Minds through Art (OMA), TimeSlips, and the Geezer Gallery. Each case study provided a unique style of program design, based upon their community, resources, and needs. These case studies were used to inform a set of recommendations for beginning an intergenerational arts program. This project builds upon existing research covering the impact of lifelong learning, intergenerational programs, and arts programs for both children and older adults. It serves as a reference point for professionals in the field of Arts and Healthcare, marking current, key organizations offering intergenerational arts programs alongside program design recommendations.Item Open Access Opening the Curtain to Collaboration: Allowing for Cross-Border Theatre Partnerships in Vancouver, BC and Seattle, WA(2017-06-14) Hurt, CharissaThis study approaches the lens of cross-border collaboration and partnership in the Pacific Northwest region through an artistic framework. Drawing upon an existing body of literature in border management, security, trade, and economics that focus on the Pacific Northwest as a region, the study seeks to answer the question “what are the opportunities for the theatre communities of Vancouver, British Columbia and Seattle, WA to collaborate to increase cultural vitality in the transborder Pacific Northwest?” From there, the study investigates current levels of collaboration between the two communities, the barriers to collaboration, and the significance of encouraging artistic collaboration. An in-depth literature review features detailed information about the cities of Vancouver, BC and Seattle, WA, their individual theatre communities, their respective state and province, the Pacific Northwest Region, and the cultural policy of Canada and the United States in order to give a framework for this research. Qualitative research methods are applied to supply a personal perspective from the theatre communities and examples of certain barriers and benefits that can be derived from cross-border collaboration. Through these methods, the study presents and analyzes the views of professional theatre artists and arts administrators towards collaboration between the two cities. Ultimately, these methods and instruments work together to provide a plan for increased theatrical collaboration between the two theatre communities. This plan will detail specific methods that theatre artists and mangers can realistically apply in the next 1, 5, and 10 years in order to increase artistic collaboration to further the creative vitality of the Pacific Northwest region.