Entering Cultural Communities

Diversity and Change in the Nonprofit Arts

; Joni Maya Cherbo ; Margaret Jane Wyszomirski ; Diane Grams (Redaktør) ; Betty Farrell (Redaktør)

Arts organizations once sought patrons primarily from among the wealthy and well educated, but for many decades now they have revised their goals as they seek to broaden their audiences. Today, museums, orchestras, dance companies, theaters, and community cultural centers try to involve a variety of people in the arts. Les mer
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Om boka

Arts organizations once sought patrons primarily from among the wealthy and well educated, but for many decades now they have revised their goals as they seek to broaden their audiences. Today, museums, orchestras, dance companies, theaters, and community cultural centers try to involve a variety of people in the arts. They strive to attract a more racially and ethnically diverse group of people, those from a broader range of economic backgrounds, new immigrants, families, and youth.The chapters in this book draw on interviews with leaders, staff, volunteers, and audience members from eighty-five nonprofit cultural organizations to explore how they are trying to increase participation and the extent to which they have been successful. The insiders' accounts point to the opportunities and challenges involved in such efforts, from the reinvention of programs and creation of new activities, to the addition of new departments and staff dynamics, to partnerships with new groups. The authors differentiate between ""relational"" and ""transactional"" practices, the former term describing efforts to build connections with local communities and the latter describing efforts to create new consumer markets for cultural products. In both cases, arts leaders report that, although positive results are difficult to measure conclusively, long-term efforts bring better outcomes than short-term activities.The organizations discussed include large, medium, and small nonprofits located in urban, suburban, and rural areas - from large institutions such as the Smithsonian, the Walker Art Center, the Museum of Fine Arts Houston, and the San Francisco Symphony to many cultural organizations that are smaller, but often known nationally for their innovative work, such as AS220, The Loft Literary Center, Armory Center for the Arts, Appalshop, and the Western Folklife Center.

Fakta

Innholdsfortegnelse


















































































































List of Figures and Tables

ix
Acknowledgmentsxi
Introduction1(12)




Diane Grams





Betty Farrell





Building Arts Participation through Transactions, Relationships, or Both

13(25)




Diane Grams





Changing Culture and Practices Inside Organizations

38(26)




Betty Farrell





Leaders Brdging the Culture Gap

64(27)




D. Carroll Joynes





Diane Grams





Partnering with Purpose

91(23)




David Karraker





Diane Grams





Building Youth Participation

114(29)




Betty Farrell





Diversifying the Arts: Bringing in Race and Ethnic Perspectives

143(28)




Morris Fred





Betty Farrell





High-Tech Transactions and Cyber-Communities

171(23)




Wendy Leigh Norris





Diane Grams





Creative Reinvention: From ``One Book'' to ``Animals on Parade''---How Good Ideas Spread Like Wildfire

194(27)




Diane Grams





Achieving Success

221(27)




Diane Grams

Postscript248(7)




Diane Grams





Betty Farrell

Appendix255(10)
Bibliography265(6)
List of Interviews Cited271(8)
Notes on Contributors279(2)
Index281

Om forfatteren

Diane Grams, a sociologist and former museum director, directed this project through the Cultural Policy Center at The University of Chicago. Betty Farrell, associate director of the M.A. Program in Social Sciences and senior lecturer at The University of Chicago, works on the sociology of culture.