Goucher College MA in Arts Administration

Permanent URI for this collection

http://hdl.handle.net/11603/3000

Founded in 1998, the MA in Arts Administration (MAAA) was developed to give working arts professional the opportunity to earn their MA. The low-residency model is based on the Executive MBA format that allows students and faculty to be together on campus once a year for intense study and then to return to their work and their communities during the rest of the year. Faculty members are national arts leaders offering students access to wide networks of mentors and peers.

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Now showing 1 - 20 of 60

An Argument for Awe: Inherent Impact of the Arts
(2024-06) Nelson, timothy; Terence McFarland; MA in Arts Administration
Cultural Relevance in Arts Education
(2024-05-24) Adams, James; David Holland; MA in Arts Administration
Elevating "the Ground": Making Space for Black Leadership at America's Regional Theatres
(2024-05) Brandall C. Jones; Camille Schenkkan; MA in Arts Administration
A FIELD-WIDE INVESTMENT IN EQUITY: PRACTICING INCLUSION IN FUNDING THE ARTS
(2023-05) Woodfin, Chandler; Montenieri, Tony; MA in Arts Administration
Raising the Bar for Accessibility in Performing Arts Organizations
(2023-06) Welsh, Emily; MA in Arts Administration
Culture Change: Rethinking How Dancers Are Trained, Treated, And Valued to Sustain Ballet Organizations
(2023-05-25) Bernardini, Rena; Leonard, Sara; MA in Arts Administration
Organizational Resilience and Nonprofit Arts Organizations
(2023-05) Sutherland, Rachael; MA in Arts Administration
My Nude Tights Are Brown: Employing Community Engagement in Black-Led Dance Spaces
(2023-05) Benjamin, Lindsay; MA in Arts Administration
An examination of community engagement in arts organizations through the lens of Black-led institutions in Ballet.
Life After Death: The Value of Dance Artists Beyond Performance
(2023-05) Warner, Benjamin; McFarland, Terence; Spruill, Janelle; Lawrence, David; MA in Arts Administration
Retain. Value. Promote. A Case For Supporting Women Working In Arts Administration.
(2023-05-01) Church, Hannah; Montenieri, Anthony; Charleston, Gregory; Master of Art in Arts Administration; MA in Arts Administration
A Case for the Ephemeral: Temporary Public Art and Its Place in Our Communities
(2023-05-16) Holland, Laura; MA in Arts Administration
The Crossroads of Living Wages in American Museums
(2023-04-14) Lancaric, Vanessa; Holland, David; MA in Arts Administration
Looking for Our Own Stories: Asian American Representation and the Legacy of East West Players and Theater Mu
(2022-04) Lares, Jenny C.; MA in Arts Administration
Asian American theatres have been nurturing Asian American artists and telling Asian American stories since 1965. Theatres such as East West Players in Los Angeles; Asian American Theater Company in San Francisco; Pan Asian Repertory Theatre, National Asian American Theatre Company, and Ma-Yi Theater Company in New York City; Northwest Asian American Theater in Seattle; and Theater Mu3 in Minneapolis were born out of a need for Asian Americans to be seen as complex humans, to tell their own stories, and to carve out space in a field that excluded them or relegated them to minor, often stereotypical, racist roles. As Ralph Peña, the Artistic Director of Ma-Yi Theater Company states, the work of Asian American theatres is to “tell Asian stories from Asian artists, with Asian agency and centering Asian lives, therefore humanizing Asian lives....so when we do that, it’s harder to choke somebody on the subway until they’re unconscious” (Tran). This paper focuses on two Asian American theatres that were founded nearly thirty years apart in vastly different places in the US: East West Players in 1965 and Theater Mu in 1992. This paper draws attention to theatres that have an extensive legacy of serving their communities and producing relevant programming, explores common factors that have led to each theatre’s stability and success, and interprets history through the lens of arts administration. As Asian American theatres, East West Players and Theater Mu are critical sites for negotiating identity and the evolving definition of (what it means to be) “Asian American,” and their longevity has been powered by the resilience of Asian American artists and a vital commitment to representing their communities.
As the Last Become First: How Women of Color Leadership Revolutionizes the Creative Economy
(2022-04-13) Everette, Candace; Reese, Margie; MA in Arts Administration
This research consists of strategies to expand and support women of color leadership in nonprofit arts organizations. It identifies several, regional case studies that examine present day WOC leaders in the field of nonprofit arts administration.
No Theater Left Behind: A Case for Digital Programming
(2022-04-13) Breeden, Thomas; MA in Arts Administration
The COVID-19 pandemic presented nonprofit theaters an immediate and critical choice: shut down until the health concerns passed, or shift to some form of digital programming to continue to serve their audiences. Now, as theaters can once again reopen their physical spaces, a new, equally existential choice has emerged: leave COVID-era digital programming behind, or continue to incorporate digital programming into the core of the organization. This paper answers a timely question for the post-COVID era: Why invest in digital programming for the long haul? Through study of relevant literature, pandemic-era studies, news reporting, and personal interviews with theaters doing digital work, “No Theater Left Behind” presents a case for digital programming as an essential part of nonprofit theater companies’ artistic and audience development strategies moving forward. As seen in organizations over the last two years, digital programming extends a theater’s reach, improves access, and creates additional touchpoints into the organization for patrons. Further, commitment to digital programming will make for a more resilient and adaptable organization, one that will be ready to respond to the next moment of crisis. To capitalize on these benefits and not be left behind, organizations should seize this moment to invest in digital programming and ensure their place as the theater of tomorrow.
Small Opera, Big Voice: The Role of Small Opera Companies in Eliminating Elitism in Modern Opera Ecology
(2022-04) Sadler, Cindy; Holland, David; Arts Administration; MA in Arts Administration
In the United States, small opera companies are the veins that carry fresh blood throughout the American opera world, and their work benefits both their communities and the American opera ecology at large. Their size gives them organizational agility, making them more flexible and faster to act. They often serve as proving grounds for young singers, directors, conductors, and designers, and as conduits to the larger opera stage. Where larger companies battle the perception and reality of elitism, lack of diversity, entrenchment, colonialism, racism, and inaccessibility, smaller companies enjoy deeper engagement with their communities and serve a broader range of people in their mainstage programs. For these reasons and others, grassroots and experimental opera organizations are pivotal to eliminating elitism in the twenty-first-century opera ecology.
Anti-Racist Practices in Community Theatre
(2022-04-12) Geddie, Kristofer; Schenkkan, Camille; MA in Arts Administration
The Prioritization of Mental Health in Dance
(2022-04) Pertz, Natalie; MA in Arts Administration
Dance leadership must invest in the physical and mental health care of dancers to transform the established culture into one that prioritizes the well-being of dancers. In this paper, the established culture refers to a close-knit yet competitive culture in dance that has been known to nurture outdated practices and the pursuit of perfectionism. The established culture encompasses dance school and professional dance culture. Feedback and testimonies are collected and examined through personal interviews that were conducted with current and former dancers, dance teachers, dance leaders, and mental health professionals.
Immigrant Assimilation Through Theatre
(2020-05) Anastasiadis, Grace; MA in Arts Administration
This major paper will examine how theatre education and participation can assist immigrants who choose to assimilate into their new culture, do so more effectively. The paper defines assimilation as a mutual process whereby the immigrant and host society both change culturally and meet in the middle. There are several factors that aid in immigrant assimilation: language acquisition, customs, culture, self-confidence, contact with native-born, attendance at social clubs or institutions of the host society, and dress. The paper ties these aspects to how theatre can assist immigrants achieve assimilation through them. Theatre can teach immigrants about the culture of the United States, and it can also teach Americans about other cultures, thereby raising mutual awareness, helping each to become more accepting of others, and teaching the native-born to empathize with an immigrant’s struggle, all while celebrating the differences among cultures. Research consisted of historical data on immigrants and assimilation, and interviews with leaders in the field of theatre, theatre history, immigration, sociology and policy. Journals in the fields of social science and psychology were used to demonstrate how theatre assists immigrants with aspects of assimilation. Books on the history of immigration were consulted in addition to secondary data on how theatre can assist in assimilation. Web searches proved useful in supplying population data and history of immigration population of the US. Articles on how theatre has helped immigrants in addition to periodicals on immigrants, immigration, and theatre were consulted. Lastly, interviews with theatre companies currently using theatre to assist immigrants in assimilation were conducted. The conclusion suggests how theatre arts administrators can use this information to make theatre more relevant to immigrants, design a program geared toward them and possible next steps for their theatre’s program.
THE LESSONS OF VIRTUAL CHOIR IN ACCOMPLISHING DIVERSITY, EQUITY, AND INCLUSION
(2021-05) Patterson, Tamira; Leonard, Sara; Lucas, Gregory; Baker, Ramona; Cooper, Lauren; Arts Administration; MA in Arts Administration
Due to a lack of meaningful diversity, equity and inclusive practices in arts organizations and the arts sector, improvement in these areas is increasingly important to the future success of these organizations. During the COVID-19 crisis, arts organizations have switched to the virtual model of teaching and performing, and many have been able to attract more diverse audiences than they would otherwise have had in person. Virtual choirs have been very successful in accomplishing diversity, equity, and inclusion (DEI). Virtual choirs have made this distinct impact during the COVID-19 pandemic. Many participants have found that participating in a virtual choir has greatly enhanced their productivity and mood (Hendler). This paper will examine how arts organizations can learn from the successes of virtual choir projects to improve diversity, equity, and inclusion among community-based performers and their patrons.

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