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What do working performers in the Wa...

Russ, Nathaniel, Jr.

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What do working performers in the Washington, DC area know: Describing arts advocacy & community.

Record Type:	Electronic resources : Monograph/item
Title/Author:	What do working performers in the Washington, DC area know: Describing arts advocacy & community./
Author:	Russ, Nathaniel, Jr.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2010,
Description:	158 p.
Notes:	Source: Masters Abstracts International, Volume: 49-03, page: 1540.
Contained By:	Masters Abstracts International49-03.
Subject:	Arts management. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1487350
ISBN:	9781124380032

What do working performers in the Washington, DC area know: Describing arts advocacy & community.
Russ, Nathaniel, Jr.

What do working performers in the Washington, DC area know: Describing arts advocacy & community. - Ann Arbor : ProQuest Dissertations & Theses, 2010 - 158 p.

Source: Masters Abstracts International, Volume: 49-03, page: 1540.

Thesis (M.A.)--American University, 2010.

This study examines how professional performers define arts advocacy and community, as a means to create practices and tools to empower them to advocate for themselves. Arts Advocacy adequately addresses the overall concerns of the arts sector and of established organizations. Yet in streamlining the advocacy process, a few major goals have to be selected, while the goals of different and smaller communities of artists receive varying levels of support, depending on the networks set up within each field.

ISBN: 9781124380032Subjects--Topical Terms:

3168382
Arts management.

What do working performers in the Washington, DC area know: Describing arts advocacy & community.
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500 $a Adviser: Antonio Cuyler.
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520 $a This study examines how professional performers define arts advocacy and community, as a means to create practices and tools to empower them to advocate for themselves. Arts Advocacy adequately addresses the overall concerns of the arts sector and of established organizations. Yet in streamlining the advocacy process, a few major goals have to be selected, while the goals of different and smaller communities of artists receive varying levels of support, depending on the networks set up within each field.
520 $a By examining the education, training, and work-lifestyle of professional performance artists, and documenting existing beliefs about arts advocacy and community, we can gain an understanding of how working performers' professional life affects their civic one. We can also enable individual artists' civic life to better their professional one. In the end, this study will show that empowering artists to self-advocate will give arts advocacy a much needed boost, but that it begins with working artists own beliefs and understanding about community and advocacy.
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