Tag: arts administration

Teachers College Graduate Emily Ditkovski Reflects on Using Arts for Activism in Washington Heights

Published on by artsadmintcLeave a comment

Read more about Emily’s involvement in the Washington Heights-based People’s Theatre Project and the symbolism of Commencement.

By Brandee Sanders (Reposted from Columbia Neighbors)

For Los Angeles native Emily Ditkovski, the healing and restorative power of the arts is something that has always been evident. While coming of age on the West Coast, the arts education advocate—whose parents are thespians and educators—witnessed how the stage could serve as a safe space for presenting stories that amplify societal truths and encourage change.

When she stepped into the theater, she felt a therapeutic sense of freedom. Her unwavering commitment to ensuring historically marginalized communities can experience that form of liberation through the arts is what led her to Washington Heights. The Uptown community is where she launched her teaching career and honed her passion for using theater as a means for social justice activism. Through her work in education and the nonprofit space, Ditkovski has led and contributed to efforts centered on supporting immigrant communities and eradicating socioeconomic barriers within the arts.

When she strides across the Commencement stage at the United Palace in May, as part of Teachers College’s 2023 graduating class, her journey will come full circle. 

Columbia Neighbors spoke with Ditkovski about her upbringing in California, her involvement in the Washington Heights-based People’s Theatre Project (PTP), and what Commencement symbolizes for her. 

What inspired you to chart a path in the arts?

My parents were theater people and educators and I grew up in the black box theater that my dad built. There was a lot going on in other parts of our lives, but somehow the theater was a safe space for me. I quickly learned that was an enormous privilege. So many people, due to systems of white supremacy and racial capitalism, unfortunately don’t have access. Pretty quickly, by the time I was 17, I was working as an arts educator with many populations, but predominately focused on historically excluded folks and kids in foster care. We also performed and led workshops in youth prisons.

What motivated you to get involved in the People’s Theatre Project?

When I got into Teachers College, I knew we had an internship program and I’d been following the People’s Theatre Project for a little while. For me, there’s no theater without a social justice component and that can take so many forms. It depends on the community and the facilitators. With the People’s Theatre Project, I was inspired by the idea that they are merging theater and activism on the education front and in their professional company; giving people tools to be activists in their communities.

To work in Washington Heights and amplify the stories of the immigrant population living here, especially with what’s going on in this climate, is crucial. There’s a lot of brain science on why storytelling is a compelling way to build empathy. It’s a really, really big piece of the puzzle. That was all combined in PTP for me. 

You began your teaching career in Washington Heights and now you’re supporting a Washington Heights-based nonprofit, can you delve into the significance of this full-circle moment?

Washington Heights is where I built my first classroom, with the help of my students of course. One thing I noticed quickly is that because of underfunding of the arts in public schools, and especially in low-income communities, there was very little exposure to any kind of arts. I wanted to give my students as many avenues to discover an artistic outlet as possible. I had never worked Uptown before, but the Washington Heights community was so embracing and receptive. I felt welcomed, seen, and taken care of. Every day, I walk by the school where I taught on my way to the Northern Manhattan Arts Alliance (NoMAA), where I teach with PTP, and it’s just a beautiful moment to take in.

Can you discuss your passion for using the arts to holistically benefit the community?

As a young person, I’ve had that very powerful experience. All of the data shows that when we are in touch with ourselves and we know who we are, we can be the best version of ourselves. The arts gives young people that opportunity. The world tells immigrant youth and historically silenced populations not to be in touch with themselves, so seeking self-actualization is quite revolutionary. When somebody’s story is on stage, whether it’s for your immediate community or a larger community, we are saying this story matters.

What led you to Teachers College?

I’ve been an educator for so long and I transitioned into arts administration with the hope to start a nonprofit. What brought me to Teachers College was the focus on looking at the deep roots of the issues around access to the arts. Nobody is talking about a band-aid solution. Nobody is talking about equity in a superficial way. It’s really about getting at the systemic issues.

From your perspective, what makes Washington Heights special?

It’s vibrant. Sometimes I’ll walk all the way up to Washington Heights from Morningside. I can hear the music from people’s windows. There are so many generations of people on the street together. To have that togetherness outside is something I appreciate. It’s truly extraordinary for me and it impacted the way that I taught and understood families as part of the educational experiences of young people.

What’s your favorite Uptown spot?

I grew up in LA and we don’t have a lot of Dominican food there. When I eat at Malecon I’m just in heaven. It’s so good. Also, when I’m walking and I see the George Washington Bridge and I realize where I am, what’s going on, and the significance of this neighborhood to so many people, that’s always a moment where I breathe and take time to feel that gratitude for being up there.

Who is an Upper Manhattan-based community hero or leader that you admire?

This is not going to be a surprise, but Mino Lora who is the Founding Executive Director of PTP. I admire her so much. She is looking at solving the problems faced by immigrants, with immigrants, and for immigrants in such a holistic way and from so many different angles. She leads with love always, but her standards are so high. That combination propels people to stick with the work.

What does Commencement symbolize for you?

On one hand, it symbolizes a homecoming and being with my family again, but it’s just an incredible moment to realize how many skills I have to work toward equity and justice in arts education. On another level, I struggled in many aspects of school and I had some teachers who would be shocked to know that I am graduating from Columbia University. To say that I was able to hold my own in this kind of space is something that I won’t forget and I think will also help me as an educator.

Everybody is going to go at their own pace. Time looks different for everyone. I’m much older than most people in my cohort. You can change your course and go and do something that you’ve always wanted—even if you think it’s too late.

What is the best piece of advice you’ve received?

The deeper, more holistic advice that I have is from my advisor Dr. Gregory-Kameka. She’s a truly incredible human being. She talks a lot about the power of listening and learning to listen more than talk—especially for someone in my positionality within justice work. I went through my studies in that way; seeking classes where I needed to listen the most. That profoundly changed the whole trajectory of my career.

What’s on the horizon for you?

I’m actually moving abroad to Ireland. It’s an exciting place to be in educational theater because they have a different concept of what theater can be that is aligned with my values of theater for change. I want to listen to the community and see how I can be helpful in this space.

——–

Original article link here.

ALUMNI SPOTLIGHT: DR. YOUNGAAH KOH, MIAMI UNIVERSITY

Published on by artsadmintcLeave a comment

Recently, ARAD spoke with Dr. Youngaah Koh, who was part of our program during 2011-2013. After completing her doctorate degree at Ohio State University, she became the Assistant Professor of Arts Management & Arts Entrepreneurship at Miami University.

Could you share a little bit about your background and what led you to join the ARAD program at Teachers College? 

It’s been a while since I graduated from Teachers College, so I have to think back a bit. I got into the program in 2011; I was in South Korea. I graduated college with a journalism degree, and I really loved and enjoyed writing news stories rather than creative writing – I just thought that was more for me. So, I worked at a newspaper called The Korea Herald, an English-language daily newspaper in Korea where I covered the performing arts. 

I didn’t know a whole lot about the arts when I started this job. But I’ve always appreciated the arts. Going to museums and concerts, and I absolutely loved going to watch the Nutcracker growing up. I just had a strong appreciation for the arts and was able to learn more, especially performing arts like dance, music, and theater, while on the job. I loved my job. 

However, after doing that for a while, I realized I didn’t want to just write about the arts from an outsider’s point of view . I really wanted to be a part of the arts industry, be more involved, and gain hands-on opportunities in the arts and the arts administration industry. Back then, I never really considered myself an artistic person, so I chose the route of arts management rather than a traditional artistic route which I think was a good fit for me, and this field was still nascent in South Korea. It was during that time I realized studying in the United States would be a good option to consider. Studying in a prestigious school like Columbia University and living in New York City would open new avenues for me, so I applied to the ARAD program in 2011 and was funded by the Fulbright program. The scholarship helped cover the tuition, which was very helpful, and I was able to be a part of a wonderful network of fellow emerging scholars from all over the world.

Were there any specific courses you opted for while in the ARAD program that particularly appealed to you or your academic goals? 

I loved most of the classes I took, and the program was very well organized. Dr. Steven Dubin was the Director of the program at that time. I got to learn a lot about the sociological aspect of the arts and how that intersected with arts management, which was a very fresh perspective. Since we’re on the topic of classes, taking those at Columbia Business School was also very helpful, especially the accounting class. I know not many art students enjoy taking accounting classes, but I found them to be very helpful, and I think it’s beneficial to have that math and numbers knowledge to navigate the arts industry. Comprehending finances and how you fundraise and manage money within the industry becomes pivotal. In addition, I loved going to the business school mixers, which were great networking opportunities. I highly recommend that students take advantage of this opportunity. I also very much enjoyed taking painting classes with Dr. Olga Hubbard in the Art & Art Education department as well as cello classes in the Music Education department which rekindled my creative side and passion for artmaking.

What was your master’s thesis about?  

My thesis was regarding audience development strategies of ethnic museums in New York City. I did a qualitative comparative study between three different ethnically focused art museums centered around community engagement: the Korean Museum, the Italian American Museum, and the Museum of Chinese in America in New York City. It was a meaningful project where I got to learn a lot about the history of different migrant populations in the city and how they advocated for their arts and culture and their community through in-depth interviews with the directors of all three museums. 

What did your journey after graduate school look like? How did you get your current role? 

After graduating from Teachers College in 2013, since I was on a Fulbright program, I was expected to return to my home country for 2 years to disseminate the knowledge and skills I had acquired through my studies in the U.S. which I thought was a wonderful opportunity! I got to work with the Korean National Commission of UNESCO. UNESCO is a U.N. agency that oversees education, science, and culture. Every member state of UNESCO has a National Commission, and Korea is one of them too. I was a program officer with the International Relations Division. Because of my specialty in arts management, I mostly worked on international collaborative projects in developing countries within the Asia Pacific region. 

I worked with countries like Uzbekistan, Bangladesh, and the Cook Islands in the Pacific Islands and coordinated Korean government-funded collaborative projects. For example, I worked in Bangladesh to help modernize their traditional textile called Jamdani, where we worked with a local designer to modernize it for contemporary fashion like clothing and bags. We held a fashion exhibit at the end of the project, which was very successful and received positive responses locally. ! It was so fulfilling to see the impact these projects had on the local community. It was a very rewarding experience to work with such a diverse group of people from around the world, experiencing their cultures and their native storytelling, especially in the Pacific Islands region. 

I would also participate in making international policy by contributing to UNESCO’s Executive Committee meetings and the General Assembly. I used to travel extensively between Seoul, South Korea, and Paris, where UNESCO’s headquarters is located.   

Sometime around the end of 2015, a colleague (who is also one of my best friends from the ARAD program) who was pursuing her doctorate degree at Ohio State University in Arts, Administration, Education, and Policy recommended that I apply to the program. I had considered getting a doctoral degree, but after I completed my master’s program, I wanted to take some time to gain work and industry experience, and this seemed like the right time to embark on that journey. With this degree, I could expand my scope to not just the arts but also cultural policy, education, and the intersection of those disciplines. I was able to work with theoretical frameworks of multicultural education and critical multiculturalism, and how they intersected with cultural policy. Through my dissertation, I examined the impact of community-based culturally-relevant art education for Korean-American elementary students. This project had to do a lot with my vested interest in the empowerment of ethnic minority communities in the U.S. through the power of their arts and culture. 

I graduated from the program in 2019 and moved to Miami University and I’ve been in this role ever since, and this is my fourth year of teaching in this position. I teach arts management, and I work with undergraduate students within the university, which is a liberal arts college, and one I have really come to appreciate. It’s different from the education that I have experienced. I enjoy working closely with students and establishing meaningful relationships with them. It has been such a rewarding experience! I am part of the Arts Management & Arts Entrepreneurship program. I currently teach Introduction to arts management, Cultural equity in the arts, and Policy and advocacy in the arts, which is my area of expertise in the program. I love taking students to advocacy events and meetings with legislators to gain first-hand experience. 

What are some of the challenges that you face in this role? How do you overcome them? 

There are two main challenges I face in this role. Firstly, some logistical constraints in the program. We started as a minor program in the early 2010s but are now a full-blown major program with over 250 students. Because we are so fast-growing, it has been challenging to keep up with the demand. So, ensuring that students get consistent quality education in the program, with the turnovers of faculty since it’s not easy to hire more permanent positions, has been a more contextual challenge.

Secondly, because Miami University is an undergraduate teaching-focused school and I thus spend a lot of time on my teaching and advising, it sometimes can be difficult to carve out time for my research. The university, however, encourages a teacher-scholar model among its faculty, where what you’re teaching informs your research and vice versa. And because of this, I’ve really gotten to embody and appreciate that role throughout my career here. For example, I have involved my students in advocacy events and have them get involved in those kinds of experiences in partnership with CreativeOhio, a grassroots advocacy organization in Ohio; I have turned that into a collaborative research project that we have been working on. I find engaging with the community to be a pivotal part of my role both as a scholar and teacher of arts management.

Given your diverse experience, both as a practitioner and a scholar, and now a tenure-track faculty member, what advice would you like to give our current and prospective students at ARAD? 

Ah, that’s a big question! Well, firstly, I highly recommend getting a degree at Teachers College in the ARAD program if you’re interested in arts administration. It was monumental for my career, not just because of the great curriculum but just being exposed to all the different people and cultures and the arts and the city of New York in general. Everywhere you go in the city, you see so many different artists from different cultures that open your mind to many opportunities.

My second piece of advice would be never to be afraid to try something new, even if you don’t know what it might be. Just follow your heart and gain as much experience as you gain in different areas that spark your interest. I know so many friends and students alike who complete an undergraduate degree and straightaway go into getting a master’s and pursuing a Ph.D. right after. I advise taking some time between each degree to experience the field and figure out what parts of the industry spur your passion and creativity. I always encourage my students to be more intentional in why they wish to pursue those graduate studies and what they want to gain from them. Don’t be afraid to try taking the path less traveled. I’m sure new opportunities will open up, and the challenges that come along with them will help push you to be more entrepreneurial and innovative in your career.

Finally, I would say find a good mentor who can help you. It could be someone from the program; it could be one of the faculty members; it could also be someone you meet at your job; or it could be a senior or peer colleague that you work with. And (very) lastly, treasure the relationships you build when you’re pursuing your graduate degree at TC. You are part of a network of amazingly talented, smart, and creative people who will, if not already, have thriving careers throughout the world. This network will take you a long way! 

Fall 2022 Microgrant Recipients –  Celestina Billington & Joey Chen

Published on by artsadmintcLeave a comment

The Arts Administration Program (ARAD) at Teachers College, Columbia University previously awarded two students with Microgrants for Student Professionalization during Fall 2022.

Through the ARAD Microgrant Program and with generous support from the Arts and Humanities Department at Teachers College, ARAD proudly supports student professionalization activities on campus and beyond. This award champions special projects proposed by Teachers College student groups (with ARAD student membership), as well as professional development for individual students in the ARAD Program. Applications were invited through an open call process, and selected by ARAD faculty.

  1. Microgrant Recipient: Arts Admin Next (AAN) and the inaugural event “First Roundtable: ARAD X VAA”

Arts Admin Next (AAN) is a student organization founded by Joey Chen (ARAD ‘24) and Katerina Wang (ARAD ‘24). Connecting students in the pre-professional programs in arts administration with experienced practitioners in the arts industry, Arts Admin Next (AAN) aims to create a diversified community and an encouraging social adventure for arts administrators. 

On December 3, 2022, Arts Admin Next (AAN) launched its inaugural event, “First Roundtable: ARAD X VAA,” at TheBLANC gallery, bringing together current students and alumni from the Arts Administration (ARAD) program at Teachers College, Columbia University, and from the Visual Arts Administration (VAA) program at New York University. 

We were honored to have invited four alumni from both programs as our guest speakers, who are: Nicole Chen (ARAD ‘20, Post Sale Manager, Sotheby’s), Alexis Yuen (ARAD ‘16, Art Advisor, Manager of the Trade Program, Uprise Art), Erin Cao (VAA ‘19, Associate Director, Miguel Abreu Gallery), and Lauren Torrie (VAA ‘22, Development Assistant, The Metropolitan Museum of Art). The guest speakers shared their valuable experiences of the graduate programs and their career journeys during the self-introductions and roundtable discussions. 

(Photos by the Blanc Gallery)

2. Celestina Billington (ARAD ’23) is an artist and activist living in Manhattan. She has previously partnered with organizations that include Amnesty International and AmeriCorps VISTA. Currently, her direct action work is with vulnerable groups on COVID outreach with the nonprofit Good Old Lower East Side. Her artistic work is multidisciplinary and grounded in writing, experimental performance and social practice. She has been in productions at Museo de Arte Moderno, La Mama Theater and DiverseWorks. She is a founding member of the international collective “OURNA,” which produces original films, albums, podcasts and zines. In her free time Celestina enjoys traveling and caring for a pet turtle. 

The ARAD microgrant supports Celestina in covering costs for access to Adobe Creative Suite application tools often used in arts administration jobs, as well as for online courses in LinkedIn Learning that will aid her in mastering the various sought-after skillsets associated with creative software.

Student Advocates for the Arts: Valentine’s Day Fundraiser

Published on by artsadmintcLeave a comment

On Tuesday, February 14, ARAD’s student-run organization, Student Advocates for the Arts (SAA) hosted a Valentine’s Day Fundraiser in support of the International Brazilian Opera Company. Scroll down to see comments from attendees, performers, and organizers.

“The event showcased students from the Arts Administration program who performed on the “piano corner” of the hall. Among them, Arnell Nur Karina, Hannah Cleveland, Hayley Rothman, Helena Wang, Hugo Vaz, Sheng Gao, and Vivian Stolt delivered a beautiful set of musical pieces from classic to folk, to tango. The goal was to raise funds for the International Brazilian Opera Company (IBOC), a Harlem-based non-profit arts organization that produces contemporary works of opera and supports immigrants who wish to establish themselves as musicians in the United States. To date, IBOC has helped 64 immigrants obtain their legal status as distinguished artists in the USA, and the company has developed 7 full operas. As the closing act, a few artists from IBOC presented four musical pieces, featuring Brazilian-American singer Alex Scott, Brazilian guitarist Gabriel Gorski and the Chinese tenor Yunxuan Zhu. The SAA is the student association of the Arts Administration program and is run by volunteer ARAD students of both the ’23 and ’24 cohorts.” – Hugo Vaz (ARAD ’24)

“Overall, I thought that the event went very well. There were a variety of performers, and lots of TC students who were eating in the dining hall at the time of the performance, so they got to enjoy the live music without having to stray from their usual routine. We had microphones to help carry the sound throughout the dining hall, and decorations to make the space feel a bit more festive and special for the event, especially given that it was held on Valentine’s Day. It was fun to have students performing, especially from the ARAD program, since I hadn’t heard many of my classmates perform before. We also had musicians from the International Brazilian Opera Company come and perform, which made the event really special. Having the fundraising component as a part of the event made it feel very intentional and added a sense of purpose beyond providing live music. It was a very fun event to put together, and I hope that Student Advocates for the Arts can continue to hold performances as a way to advocate for the arts!” – Hannah Cleveland (ARAD ’23)


“The SAA’s Valentine’s Day Fundraiser was a success, and allowed the many skillful artists of the ARAD program to use and exhibit their talents for the benefit of the International Brasil Opera in New York. The program included song, piano and violin performances, with love songs such Elvis’ Can’t Help Falling in Love and Por Una Cabeza, famous from the Al Pacino movie “Scent of a Woman”. The program ended with performances by the artists of the International Brazilian Opera Company. Overall the experience was lovely, and allowed ARADers to build a community together through music!”  – Vivian Stolt (ARAD ’24)

“As a member of the Student Advocates for the Arts, I assisted in the planning and execution of the SAA Valentine’s Day Concert, a fundraiser supporting the local arts organization the International Brazilian Opera Company. Every individual in the Arts Administration Program is so creative and talented, so I thought this was the perfect event for SAA. It was absolutely heartwarming and inspiring to see my peers perform together as well as the guest musicians from the International Brazilian Opera Company. I hope we can do another event like this again soon!” – Joanna Calhoun (ARAD ’23)

Alumni Spotlight: Blaire Townshend, The Broadway League

Published on by artsadmintcLeave a comment

For this chapter of our Alumni Spotlight series, ARAD spoke with Blaire Townshend (ARAD’ 17). Currently, Blaire is the Senior Manager of Membership Services & Professional Development at the Broadway League.

Could you share a little bit about your background? And what led you to join the ARAD program? 

I completed my undergraduate degree at the University of Toronto. I was a specialist in literature, music, and drama. While I loved those studies and enjoyed my time up there, I found that my passions definitely lay in the extracurricular work that I was doing, which had a more pragmatic focus. I had begun work as Executive Producer of our student drama society and absolutely fell in love with it. I loved the holistic viewpoint that arts leadership afforded and the opportunity to interact with people from a number of different constituencies. It really struck a chord with me. So, when I was looking for the next steps, I began researching arts administration masters programs because I was looking for more practical applications and further study on those extracurricular activities that had spoken to me –  and that’s how I came across the Arts Administration program at Teachers College. I was drawn to the idea that I might be one of a cohort of individuals working through that part of their journey together.

In addition, while I was quite confident that I wanted to focus on the performing arts at that time, I was interested in both theater and opera, given my experience doing an internship at the Canadian Opera Company, so I wanted to take this opportunity to narrow down my focus. I liked the idea of seeing what I could learn from people throughout the field and being surrounded by people who might be interested in everything from visual arts to dance. So that was something that drew me to the program as well. 

Finally, the exposure to New York City itself as our backyard was a huge draw – as someone who had spent 5 years in Toronto and loved that city, I still knew that New York was where I needed to end up based on my professional interests, and thought that the program would be a great entree to the area. 

Were there any specific courses you opted for while in the ARAD program? 

I enjoyed the breadth of courses that were available to us. I particularly enjoyed starting the degree with the more practical courses, such as Principles and Practice in Arts Administration, that we took with Dr. Lena. It gave us a foundation in the field by creating a resume of professional work, and it made me  more intentional and thoughtful about how I put myself out there in the world. It allowed me to take practical steps toward future internships and the jobs I would be interested in. From just going over our resumes in a new light to being aware of our presence online, writing critiques of mission and value statements from various organizations, and preparing news articles, it was a great way to begin the program. 

In addition, I greatly appreciated the opportunity to go out on our own and decide on the additional courses we could take. My advice to those entering the program is to be very thoughtful about this and to make the most of your time at Columbia and the resources afforded to you because there are plenty of options that you can pursue if you just do your research. For example, when I became more aware that I wanted to focus on the commercial theater sector, I approached the Theater Management Master’s program at the School of the Arts. I took some extra courses there –  one that gave me a great primer in general management and the inner workings of putting on a show, and a Creative Producing course with a professor I now regularly interact with in my day-to-day work. 

I also enjoyed taking business and law courses because those were so practically focused. One other program that I took advantage of was the Executive MBA program through Columbia Business School. I very much liked the idea that these courses were offered outside the normal school schedule and that I could pack more learning in and make the most of my time. I loved the practical nature of the courses I took, as we were often assigned projects for which we would present our recommendations to a real-world company or firm, which was great practice for being out in the professional world. I think the Executive MBA is a wonderful resource, and I highly recommend that students pursue it.

What was your IP or Capstone Project about? 

My thesis was focused on opera, and even though I no longer work in that field, it was something I was and remain very passionate about – my research centered around targeting millennials as the future audience for opera. Hence, my interviews featured professionals in the opera space, often those creating programs that attempted to bring millennials in and keep them engaged.

In general, I think that sufficiently preparing the next generation to be the future leaders of the arts sector is one of the most important things we can do. It all comes back to professional development – my particular passion – but simply providing young people with the information they need to know what’s out there helps ensure we engage audiences. 

What did your journey after graduate school look like? How did you get your current role? 

I would say my professional path has been relatively unique. I began my work as an intern at The Broadway League while still in grad school – it was, in fact, the internship I took as a program requirement. A week into the internship, I knew this was the perfect environment for me. It was a very exciting time to be working on Broadway. There was a huge renaissance within the field, and a lot of great new work taking place – the industry, in general, was very active and engaged. I was thrown right into the middle of it all during a major industry conference, and I absolutely fell in love with it! 

I loved the perspective you’re afforded at a trade association, from which you can see a bird’s eye view of an industry – where the industry’s priorities lie, what makes it tick, and where it would like to move in the future. Coming in knowing precious little about the different professions available within the commercial theater space, I realized I had stumbled upon the perfect position for me, which let me use my administrative brain to assist the producers, the general managers, and the theater owners whom I so love to work with. I remained part-time with The Broadway League while I finished my degree and became full-time upon graduation. I’ve been in the same department since taking on different roles in membership and professional development.

What challenges do you face(d) in your current role? How do you work around them?

The most obvious challenge we’ve faced as an industry has been the unprecedented shutdown of our business over the last few years. A shutdown of this magnitude has never happened in the history of Broadway – even in other times of crisis, the scope of the shutdown was not nearly this severe. I was lucky to retain my job through all of this during a time when so many arts professionals did not. For those of us who remained, it was a particularly busy time, with all of us working double time to try to keep things afloat, keep communication channels open, and be forward-thinking about how we might reopen, when it would be appropriate to do so, and what it would mean when we did – what would change, and what would stay the same?

Additionally, people in the theater industry were extremely dedicated to supporting one another through the shutdown and really came together in a remarkable way. The collaboration involved, amongst those who in other industries might be considered competitors, was absolutely inspiring. It made for an invaluable education, and I feel very fortunate that I was privy to these discussions and that I was able to help in some small way. The recent reopening of our industry was such a full-circle moment, and very emotional for everyone. I will never forget that first experience back in the theater, and how powerful it was to be back in that space after such a long time. 

Lastly, do you have any advice for our current students? 

I may be reiterating something I said previously, but I’m doing so purposefully because I believe it’s important: my primary advice is to take advantage of the resources you have available to you while you’re in the program. Not only is Teachers College an institution with significant resources, but you also have the backing of all of Columbia University. Use the programmatic resources they provide! By entering the program, you have made a commitment to yourself and your education, and there’s much you can gain if you put in the effort to explore your options. 

One aspect of this is participating in extracurricular activities at Teachers College or even Columbia, which I highly recommend if you have the time and capacity to do so. This only builds upon your degree and may open some doors for you that you wouldn’t have thought were viable. That’s how I found my career path! During my time at Teachers College, for example, I served as Co-President of Student Advocates for the Arts (SAA), which was a wonderful organization that gave me the opportunity to go down to Washington, D.C., to advocate for the benefits of arts programming in direct conversation with government representatives. This was an invaluable experience because it gave me practice in public speaking and networking. Most importantly, however, it forced me to articulate the value of the arts sector I was trying to pursue. 

And finally, I would advise that significant human resources are also available to you. Your professors are professionals with a wealth of experience to tap into – make the most of your time with them! You never know who you will continue to stay in touch with as you enter the field. In addition, you are part of a cohort of extraordinary people who will be your peers and compatriots throughout your professional life, even if you are not working in the same institutions or even the same arts fields. Human connection and collaboration are of the utmost importance in the collaborative fields in which we work.   

ARAD Holiday Service Project 2022

Published on by artsadmintcLeave a comment

This year, the Arts Administration Program (ARAD) at Teachers College, Columbia University will be continuing its tradition of hosting a Holiday Service Project for its faculty, students, staff, and alumni to contribute time, goods, and cheer to those in need during the winter holidays. ARAD will continue its partnership with Art Start in the format of a toy drive on December 14. Art Start is a non-profit organization that brings arts programming to at-risk youth living in city shelters, on the streets, or surviving with parents in crisis.

In addition, we are excited to announce our efforts will also benefit viBe Theatre Experience. viBe Theater Experience (viBe) is a nationally-recognized, high-impact performing arts nonprofit that is youth-led and youth-centered. Since their first performance on August 17, 2002, viBe has grown into an organization that actively invests in the next generation of performing artists – ensuring that NYC’s cultural sector remains diverse and that our communities have access to the artistic expertise necessary to shape its future! Available free of charge, viBe provides 10 theater and arts education programs, academic and wellness support services like therapy and movement classes, youth leadership training and workforce development opportunities at the organization and through partnerships to girls, femmes, and young women of color ages 13-26.

This winter, viBe is participating in #BrooklynGives 2022:

  • Your gift of $20 celebrates viBe’s 20- year anniversary.
  • Your gift of $50 supports the purchase of PPE for staff & program participants.
  • Your gift of $75 supports audio/video recording for our young artists.
  • Your gift of $250 supports supplies/materials for the viBeSongMakers program.
  • Your gift of $500 supports ongoing Professional Development for Teaching Artists.
  • Your gift of $1,000 supports staff wellness sessions with Liberation Based LLC therapists.
  • Your gift of $1,500 pays for the stipend of one young playwright from viBePages to Stages.

viBe’s end-of-year fundraiser for #BrooklynGives culminates December 31, 2022. You can donate using the form on this page.

Thank you for helping us make the holidays brighter by providing the tools and access to creative self-expression through the arts! Please contact Grace J. Choi at artsadmin@tc.columbia.edu with any questions.

Alumni Spotlight: Beryl Briane Ford (ARAD’19), viBE Theater Experience

Published on by artsadmintcLeave a comment

In continuation of our Alumni Spotlight series, we spoke with Beryl Briane Ford (ARAD’19), who is currently the Co-Executive Director of viBe Theater Experience– a Brooklyn-based, nationally serving, youth performing arts nonprofit.

Could you share a bit about your previous experiences and your time at ARAD?

During my time at ARAD I was really interested in how the public uses space, and particularly how that correlates with the arts. So my internship was at the Studio Museum in Harlem (SMH). That was the same year that I was working on my thesis, which looked at Black spaces and how communities organize in those spaces. My thesis looked at the Studio Museum in Harlem, in particular, because of their capital campaign and how people would engage with both the physical space and the activities that happen. From that, I was inspired to join BlackSpace, which is the board that I served on for three years. It’s an interdisciplinary organization, newly established as a nonprofit last year, that’s now national and brings together architects, artists, organizers, and academics.

I graduated from ARAD in 2019 and the first job that I had out of the program was at The Museum of Modern Art (MoMA). I worked in the development department for two years. When I first started there, it was closed to the public for its own capital campaign. I grew up in New York my whole life and I remember being young and going there for field trips. Having studied Art History at Smith College too, I felt like it was a great opportunity to work for a leading institution in the arts. I learnt very quickly how development functions at such a large institution. At MoMA, you have the Director of External Affairs and then all the department heads across individual and institutional giving, and membership under that director. Then, there are teams working under them. I worked on the Foundation Relations team, writing grants and assisting with the stewardship of different foundations. We would all meet once a week as a whole department to talk about what functions and activities were happening and what’s coming down the pipeline.

Interestingly, development happens to be a skillset that I had, and is also one that is really needed in the arts. I think of fundraising and grant writing as storytelling. Your job seems more fun in that way. Crafting a narrative about the mission and the values about whatever project you are working on or whatever organization you are working with to an audience can be more fun if you put it in that perspective. I really like this performative aspect of it. During my time at ARAD, I was also doing work-study in the institutional giving department, helping in the capacity of an assistant. My internship at Aperture was also development-related. All these skills prepared me for working at The Museum of Modern Art first, and then viBe after. Before grad school, I studied Art History and Museum Studies at Smith College. During that time, I did a lot of work with photographers and the Smith College Museum of Art , that’s also when I first learnt that I wanted to do arts administration. I didn’t necessarily want to be siloed within museum education. I feel like arts administration was the perfect bridge between my interests. Also, it really is a marriage between the artists and their work. I really take my roles in arts administration very seriously and I think about how I could leverage my own skill sets to really advance the careers of artists and bring visibility and create platforms for them.

What is your current role and what are your responsibilities?

Currently, in my capacity as Co-Executive Director of viBe, I am still doing grant writing and fundraising. I am working more closely with funders and potential investors in the organization. This role is very fitting given that my experiences in ARAD focused on development, community organizations, and building relationships. At viBe, I oversee both institutional and individual giving, while also working closely with the Board. I’m really fortunate that our Board of Directors recently decided to bifurcate our organization’s leadership model. So it’s me, and then my Co-Director, Michelan Le’Monier and we are both responsible for the executive leadership of viBe.

What are some of the exciting opportunities you are looking forward to in your current role and what are some of the challenges?

We are celebrating our 20th year as an organization, so I think it just came at a wonderful time to really think about what youth leadership looks like. Everyone on our team is under the age of 33 and we work very closely to and listen to our participants, ages 13 to 26. It is a model of being youth-led. For this 20th anniversary campaign, it will run during our fiscal year, which is from September to August. We will be carrying out this campaign throughout the year. There will be a small fundraiser in the summer, which will act as a launching pad for our larger gala that’s gonna happen in the fall of fiscal year 2024. 

With that being said, ageism is one challenge we face in the larger context of the nonprofit sector. We as a team don’t ever think about that because we don’t think of our ages as a deficit. We value the innovation that comes from having such close relationships with the young people that we serve. We really do see how the work we do is directly benefiting them.

The main strategy that we implement here, especially for me as a grant writer and someone’s who is fundraising on behalf of the programs and our constituents, is being intentional about creating feedback loops between our program participants, teaching artists, staff, our board, and making sure that communication is transparent, and that their involvement is participatory. When we are creating new cultures, we are constantly thinking about whether we are including the right stakeholders. That has benefited not only me in my current role here, but also in the organization that I co-lead.

Are there any courses you took during your time in ARAD that you feel were particularly helpful for your career journey?

I really enjoyed the fundraising class and an elective about curatorial practice. I identify as a curator, but I don’t necessarily get to practice that as often because I am now doing resource generation. But it’s definitely a passion of mine. I also loved all the classes taught by Dr. Mangione. She was my thesis advisor and I remember spending a lot of time in her office hours outside of class, learning about her experiences working at the Whitney Museum and her experiences with getting her own PhD. I would like to go back to school to get a doctorate in Art History, but that’s no time soon. Maybe in the next five years. Working closely with her on my research was really wonderful. She really helped me strengthen the types of questions I was asking and how I thought about community engagement.

What was your capstone project about?

My thesis was called “Beyond Brick and Mortar: The Studio Museum inHarlem.” Basically, it was a case study about the program called “In Harlem,” a series of partnerships with other local Harlem cultural and community institutions that SMH’s Public Programs and Community Engagement Department is collaborating with on an ongoing basis until the Museum is actually back up and open. It was definitely a positive experience and I was really grateful for the opportunity to have worked directly with the Public Programming team at the time. They were really generous with the resources that they offered and in helping me cultivate my thesis. They were receptive to sitting down with me and doing interviews. I also had an opportunity to join the Community Advisory Network that is part of the Studio Museum in Harlem, so hearing directly from people who live in Harlem, who love the Studio Museum, and hearing their firsthand experiences about what the building project means was really wonderful. It definitely helped me strengthen my research skills because I feel like sometimes I leaned more towards quantitative data versus qualitative data. Taking the qualitative approach was important because I think it is oftentimes undervalued in research practice, especially in academia.

What advice would you give aspiring arts administrators?

First, I would say try something new. If you see an elective that you might be interested in, I would just say take it. I would also say take time to rest. Don’t put too much pressure on finding a job right after. Also, ask questions. Especially at your internship sites, I would encourage you to make sure that you are fostering connections and keeping people in the loop about what you are doing. Not necessarily in a disingenuous way, but more so an organic way. If you see an article that you think your supervisor might like, say hey and send this along. You can do this with check-ins via coffee or zoom. Just letting people know what you are doing and also showing that you are invested in what they’re doing and how they’re doing is important. I think these are two of the biggest pieces of advice I’d offer, especially thinking about how these strategies are transferable and support relationship cultivation when fundraising. 

What do you do outside of work?

When I am not doing my current job full-time, I have an arts and grant writing consultancy called Knollwood Arts & Creative. I launched this consultancy in July 2021 and I am the principal consultant. I work closely with artists, small businesses, primarily ones of color, to generate resources. In other words, doing fundraising campaigns and grants writing. I saw a particular need, where there’s not really funding necessarily that’s advertised for individuals, only ever for non-profits or larger organizations. So I wanted to leverage my own skills and work closely to get funds for my community, so that they can finance their own artistic practices and pursuits. When I am not writing extra grants on the side, I am seeing art or spending time with loved ones. Cooking is also something that I really enjoy.

Alumni Spotlight: Alexis Yuen, Uprise Art

Published on by artsadmintcLeave a comment

For this chapter of our alumni spotlight series, we had the opportunity to speak with Alexis Yuen (ARAD’16), who is currently an Art Advisor and the Manager for Trade Programs at Uprise Art. 

Could you share a bit about your background and what led you to join ARAD?

I grew up in Hong Kong and I went to art school in Boston for college. It was the Museum School of Fine Arts, which is under the Museum of Fine Arts in Boston. I did a dual degree with Tufts University majoring in Photography and Design, and I minored in Art History and Studio Art. After graduating, I ended up with a job with Christie’s in London in the Asian Art department. Being one of the youngest on the team and as one of the translators, I found it to be an exciting experience. If you look into archives for those times, that was when the auction prices were the highest for Chinese art. Starting as a paid intern, I was hired two months later as the Junior Administrator, then as the Senior Administrator. This meant that I was the liaison between clients, specialists, and other departments. I was there for three years; and as I was approaching my second or third year, I realized that I wanted to engage in a career related to business and I wanted to take my career to the next level. I also wanted to see what was outside the auction field. Within auction houses, you tend to either become a specialist or a business manager. As a business manager, you don’t actually get to interact with the artwork or people. Since I am a people person, I felt like there must be more. So that’s when I applied to the Arts Administration program in New York. 

What was your journey like after graduate school and how did you get to your current role?

During ARAD, I learned about  AEA consulting in Beacon. Very often, a lot of the planning and business policy aspects we learn at school are done by Executive Directors at non-profits. So unless you are in a similar position, it can be difficult to put these skills to use. However, there are a few consulting companies in the art world that do this really well. One example is that AEA was hired by one of the Department of Culture & Tourism (Abu Dhabi) to develop a 5-year business plan and financial model. To elaborate, if a city is lacking tourism, then the consulting firm would recommend them to put more resources into the sort of art that would attract that demographic for tourism sustainably. This kind of research and application of the arts was fascinating to me. So I started to look for positions that could use these skills and was fortunate to stumble upon Art Basel Cities, which was a new project back then. Art Basel is a global art fair; but what they did not realize initially was that Art Basel would transform Miami and Hong Kong as cities. Before they came to Miami, there were only a handful of galleries. Now there are 200+ galleries that emerged within the last 15 years. That was why the director kept receiving calls from mayors around the world asking him to bring Art Basel to their countries. At the same time, the Art Basel mindset was to refrain from expanding to avoid unsustainable practices. They didn’t want to expand so they started Art Basel Cities as a popup, or a kind of consulting for local governments. I loved the prospect of this project and I contacted the founder. Amazingly, I got this opportunity. He was based in Hong Kong so I actually moved back home for a while. We were hired by Buenos Aires in Argentina and received amazing press coverage throughout the world. We were able to get a lot of artists like Barbara Kruger to participate. Other than that, I also worked on Art Basel Inside, which was a conference to bring together people working in arts and technology, eventually leading to social change. I was able to put all my ARAD learning together.

After Art Basel, I decided to go on my own. By that time, I had worked for many large corporations so I wanted to work for myself. I started a small business in art advisory and started to offer consulting services to help people buy art. I helped small organizations and nonprofits on how to engage artists. I did that for two years and I worked privately on the client list that I had built. I was traveling around the world, writing articles, and learning about how to start a business. A lot of the ARAD skills didn’t quite come to use until I started my entrepreneurship journey. I chatted with my more senior friends and those who have their own freelancing companies, they benefit a lot from the program. Because the program helps you become entrepreneurs, basically it’s all about how to be a leader. When I was working for myself, I was really excited to rely on myself such as building my own website and doing my own accounting. I started freelancing for AEA and conducted architectural research around the world to see how much money each government was putting into cultural infrastructure. Once COVID happened, I couldn’t travel and didn’t have a team. That was when I decided that I really wanted to go back to working in a group. I knew I didn’t want to go back to large corporations like Christie’s, so I ended up working as part of the small team at Uprise Art. It’s a very small team and very entrepreneurial. We were founded in 2011 and we went on being from an online gallery to a brick and mortar gallery with an online platform. We still have that entrepreneurial energy, which is really fun. 

What are some of the challenges that you face in your current role?

As the Manager of the Trade Program, which is a program for interior designers, architects, real estate developers, basically anyone that buys for a client, otherwise known as B2B. For me, that’s very different from talking to my old clients who were buying for themselves. For now, my main clients are interior designers. It’s super cool that I am talking to design professionals and my day to day is looking at floor plans, mood boards, and then doing the creative curation that I didn’t get to do in my previous positions. Also, because our group is small enough that I can do the curation personally and I don’t have to hire a curator to do that. However, the drawback is that it can also be hard to work with designers. They have their own creative visions and the struggle is to balance between interior designers, artists, and clients. With artists, I want to keep their artistic integrity, but at the same time, I would also like to please my clients. Sometimes if a client loves your work, they’ll want to see the same thing. This may be great for financial gains when you’re beginning your career, but we want to make it more differentiated for the artists. It can be hard to balance varying visions but it’s also fun to be the art advisor and to be able to appease both sides. 

How did COVID-19 impact your work and Uprise Art?

Back when our organization was founded, we were one of the only online galleries. Our founder, Tze Chun, decided something that was unheard of in 2011. Because we had 9 years of building up our website, we were already set up for our online presence when the pandemic hit. Our advantage was that we were ready for a stay-at-home experience. Our sales actually went up as more people were purchasing during their time at home. This helped us sustain our website and our normal operations. Now we are looking at how we can keep it exciting for our artists as we expand. The artists we represent have now grown so much with us, so we want to bring in more opportunities from abroad and go into new markets and new companies. Basically, to keep them inspired and to create new work. 

What attracted you to the ARAD program?

I chose the ARAD program because I liked that students came from different aspects of the arts administration field. I don’t like the idea of having only one path in your career. For example, there can be a lot of performance art in the visual arts world. I came to Columbia University with this mindset and it was the best decision because I met friends who are now at the Met Opera, at the Martha Graham Dance Company, and at a lot of visual art companies. I also chose ARAD because I wanted to pursue policy and planning and take a multi-disciplinary approach.

Are there any courses you took during your time in ARAD that you feel were particularly helpful for your career journey?

Business Policy taught by Martin Vinik, who also went to Tufts and ARAD. He was a theater person but eventually started doing consulting. One of his projects back then was on the West Kowloon district in Hong Kong, which led me to be interested in cultural districts and arts planning for a city. I am really passionate about how arts can change a city and its community. Through that class, I got to explore these topics a lot.

Cultural policy was also really helpful. As I look back, they may not be directly related to what I am doing now. But I am now part of the business development team and I am now able to make use of the different aspects of the arts.

Back then, I also got myself into a GSAPP class about urban planning, which became instrumental to my consulting work. I know a lot of ARAD students previously expressed that they struggle to cross-register but it’s worth it. For the business school, I recommend anything entrepreneurial. I think there’s a class about building a company with your class; so I took it with two other ARAD students and we were approached by many other groups when it came to formulating a plan. It was really cool that we had a musician, an artist, and myself as an art administrator. I would find a professor that supports your work, pitch yourself, and tell them what you can bring to the class. They will be so glad to have you in the class. There are also so many professors who are passionate about the arts that teach in other schools too. For example, I found a professor at the architecture school that supported what I was saying about city planning/arts. You need to be part of the conversation. Try to get in until you’re sure you’ve tried everything.

What was your capstone project about?

It was titled: “Art Museum Capital Projects in New York City: The Dual Role of Art Museums as Economic Drivers and Community Anchors” because I am interested in how arts institutions affect a city. Back in 2016, there were all these capital projects, which meant multi-billion dollar buildings going up for museums around the world. That was also happening in New York, a place that seems less open to change in capital projects due to the limited space. Yet, Whitney Museum, Cooper Hewitt Museum, and the Queens Museum were all doing this at the same time. I studied all these projects and interviewed people to talk to them about their goals and accomplishments in these capital projects. My findings included how community development rolled out and how the architecture would reflect that. The Whitney Museum used to be on the Upper East Side, but now they are in the Meatpacking District and West Village. I interviewed people who were part of the move and one thing they said was that they wanted it to be a welcoming space for the community, hence why they abandoned the old concrete building sectioned off from the street, a design from the 70s, and opted for an all-glass building in 2016 to make everything transparent. That’s an example of what I was interviewing people for.

What do you do when you’re not working?

I am a docent trainee at the Whitney Museum. I joined their docent program when I was working freelance. Even though I am working in the for-profit field, I wanted to do something that was very grounded in non-profit and I also like talking to people about art. I applied during my time at ARAD and I was on the waitlist to volunteer for four years. When I did my thesis project there, one thing led to another, and I think this is what will happen for current students too. You’re gonna do projects and you’ll be meeting new people whom you might work/volunteer for later. 

Meet Tianqi Liao, ARAD’s New Social Media Coordinator

Published on by artsadmintcLeave a comment

ARAD is delighted to welcome Tianqi Liao as our new Social Media Coordinator. Learn more about Tianqi, her goals for her new role, and what she does outside of TC.

Tell us a bit about yourself. Where are you from? What was your undergraduate degree focused on?

I was born in Hangzhou, China and I spent my childhood there until I was 10; after that, I attended a boarding school in England for seven years. When I was studying for my A-Levels, I wanted to deepen my interest in English Literature, but later decided to study Journalism at New York University. During that time, I took a lot of courses related to visual storytelling. I’ve been in New York City ever since.

What previous experiences have led you to your current role?

After my undergraduate studies, I joined the Bronx Documentary Center as an intern before moving into the development department. Throughout my time as the Development and Communications Coordinator, I’ve been helping with non-profit fundraising, annual photo auctions, and photojournalism-based exhibitions. Previously, I was also the Manager of Photography and Video at Art in Odd Places, which is an arts festival that aims to present visual and performance art in unexpected public spaces. Besides these experiences, I’ve also worked at the Center for Architecture, which focuses on informing the public about the role of design through exhibitions and public programs.

How have those experiences informed your current professional path?

Whether it was developing digital strategies for fundraising campaigns or documenting artist performances and maintaining digital archives, all these professional learning experiences were instrumental in shaping my career path. In combination with my previous academic background, everything seemed to coalesce and I was determined to pursue arts administration in a more systematic way. Now as I prepare to begin my MA program, I am looking forward to taking courses that might add to my knowledge of branding and marketing for museums, galleries, and other arts organizations.

What are you looking forward to in taking on this role?

As a new student, I think this role provides a good opportunity to connect with both groups of past and current students. For past students of ARAD, I want to leverage the potential of our alumni network and highlight their achievements and milestones. At the same time, I look forward to using my previous experiences in digital content creation and audience engagement to bring our program to more people’s attention.

What do you do outside of your time at TC?

I’m always down to explore new exhibits throughout the city, especially ones involving photography as a medium. I also practice photography myself and take on personal projects that combine conceptual and documentary styles. When I’m not working, you are likely to find me snuggling with my cats.

Tianqi Liao will begin her pursuit of her M.A. in Arts Administration at Teachers College, Columbia University in the Fall. She graduated from New York University with double majors in Journalism and Media, Culture & Communications. She has worked with various arts and cultural organizations such as the Bronx Documentary Center, Art in Odd Places, and the Center for Architecture.

Meet Dr. Yan Xiao, ARAD’s Adjunct Assistant Professor

Published on by artsadmintcLeave a comment

ARAD is delighted to welcome a new faculty member, Dr. Yan Xiao! Learn more about Dr. Xiao, what brings her to our program, and what she does outside her work at Teachers College!

Dr. Yan Xiao, Adjunct Assistant Professor, Program in Arts Administration

Tell us a bit about yourself. Where are you from? What is your educational background?

I grew up in China and got my higher education in Beijing and Columbus, Ohio. My research focuses on arts and cultural policy, arts administration, arts entrepreneurship, cultural diplomacy, and the management of nonprofit organizations.

What previous experiences have led you to your current role?

I got my Ph.D. degree in cultural policy and arts management from the Ohio State University. Prior to it, I worked in nonprofit (National Centre for the Performing Arts of China) and for-profit (entertainment industry) sectors for several years. 

How have those experiences informed your current professional path?

I always believe in the power of arts to foster social change. This belief encouraged me to learn more and experience more in the field of art, both academically and practically. 

After attaining a Ph.D., entering a career in academia is a continuation to examine and challenge conventional notions about the arts, and to pursue a more inclusive understanding of its social and economic impact.

What are you looking forward to in taking on this role?

As an Adjunct Professor at Teachers College, Columbia University, I look forward to mentoring students to prepare them for a variety of careers. I am excited to support students’ professional development that shapes the field of arts administration and reflects ARAD values. 

What do you do outside of your time at TC?

I have two boys, a baby and a preschooler. Most of the time outside of TC, I am with them and my husband. We go ice skating, kayaking, hiking, strawberry picking, camping, or simply pretend playing. If you can’t get through to me, I am probably taking a trip with my kids and Peppa Pig to the North Pole, riding on clouds.

Yan Xiao, PhD, is an Adjunct Assistant Professor specializing in arts administration in Teachers College, Columbia University. Dr. Xiao’s research focuses on arts and cultural policy, arts administration, arts entrepreneurship, cultural diplomacy and management of nonprofit organizations.

Over the past years, Dr. Xiao has taught graduate and undergraduate-level courses in arts administration. She is also an arts management professional with years of experience in international performing arts. She has been working with Philadelphia Orchestra, Arts Midwest, National Centre for the Performing Arts of China and other arts organizations on various research topics.

Dr. Xiao received her PhD in Cultural Policy and Arts Management from The Ohio State University, and Master’s degree from Renmin University of China.