Artslivesculp40240 Cultural Policy 3 Artslivesmodule Coordinator Dr ✓ Solved
ArtsLives CULP40240 CULTURAL POLICY 3: ArtsLives MODULE COORDINATOR: DR ANNETTE CLANCY SPRING TRIMESTER 2021 Tuesdays 10-11.30am, f rom 19 January 2021, 5 weeks 02INTRODUCTION The core objective is to help you think about, identify and develop your own tools for living and working as a manager, taking account of the personalised and sometimes political nature of the management experience. ArtsLives is a five week series of seminars with a cross section of cultural and creative practitioners at various career stages, to explore personal, professional and strategic dimensions of their experience. Speakers in ArtsLives are invited to reflect on their careers to-date and upon those things they might have wished they had known as they started out.
The conversational format is designed to encourage thinking aloud, and to enhance engagement with speakers and a lively discussion around what they have to say. Our focus is very much on realism - learning from lessons our mentors have found important - but with an eye also, as always, to ideals - how might it be possible, through personal values and commitments, to advance and enhance the arts/culture sector? What promising practices or good practices can you identify, and what might you want to develop or do differently? What kind of manager do you want to be, what kind of career do you want to have, and what kind of impact do you want to make? LEARNING PROCESS Try to answer for yourself: What are the skills that have proved important to these guests?
What will help me not only survive, but thrive and make a difference in this sector? Where am I with these skills, and how can I go about developing them further? Through listening, dialogue, and your own reective work in response to these sessions, the challenge is: Your task is to use this module to develop a journal document that reflects on these questions and captures your learning having reflected on what you’ve heard from each guest, in relation to your own goals and experiences. Bear in mind the task is not to summarise what was discussed. Rather, week by week, and in your final reflection chapter, we ask you to build a cumulative picture of the insights or reflective conclusions you have taken from the seminar series.
We ask for a portfolio that includes these reflections. This document is your dialogue with what you have heard and the questions above, and the goals are for what you create to be a bridge between what you are learning and your future practice. To identify effective cultural sector managerial skills and promising practices To develop insight into the personal and organisational leadership qualities you believe are needed in the sector To reflect on your own career journey, and relationship with these skills 03 ASSIGNMENT Writing is a learning device to help you think and reect. Rather than simply listening, or just summarising and reacting, journaling asks you to consider, consolidate and deepen your insight.
The journal is a book of evidence. It is a means of documenting your developing understanding and making it explicit - with structured goals and outcomes. The overriding point is that the journal should be useful and benecial to you Also, don’t be afraid to engage with the speaker on a point you consider important for your personal understanding of an issue that concerns you. Note that the measure of learning is not whether you found a speaker interesting or not, but the insights you drew from the experience. Sometimes a journal can be cathartic – a vehicle for venting feelings.
However, do check you are pushing past description and reaction to practical application (what the things you are describing mean for you in your future career). In terms of completeness – we expect approximately two pages concerning each seminar – drawn together by a strong concluding instalment charting and reflecting on the key lessons you have gathered which can be up to four pages. There is no maximum word count, but keep in mind that this journal is the main evidence of your learning and progress on this course. Doing a good job does not necessarily mean writing lots or trying to capture everything. Instead try focus and deepen your understanding of the management task.
Journalling How you write, use and present your journal is up to you; it may be as formal or informal as you prefer, but must involve weekly entries. However, the task is different from a diary or reaction piece. You should document your reactions, but primarily, what you are noticing and learning, and developing themes or issues you would like to work on. So start by identifying your personal learning goals for the module (which might evolve as the weeks unfold). These might include specific skills or themes you want to work on, but also any other kinds of objectives you have for the module– the key thing is that they are yours and that you have thought about them and committed to work on them.
Then let your journal unfold organically, with an eye to the themes of each talk and telling the story of what happened if you like, but with a particular eye to themes of relevance to you or linked into your learning goals for the module. Develop these themes by reflection on the speaker’s contribution, and, if you wish, drawing on your own organisational experience. You may also wish to develop what you have learnt from the speakers’ experiences by comparing and contrasting their different attitudes, styles and the philosophies that have shaped their individual careers. You are also welcome to recall or include reflections arising from other modules during the MA. ASSESSMENT PARTICIPATION AND ATTENDANCE 10% Where absenteeism is an issue, 2% will be deducted for each seminar missed, unless an extenuating circumstances certication is provided.
JOURNAL 60% Journals should include: An opening learning goal reection. If you prefer, this can be claried as the weeks unfold, but it is helpful to approach the series with some personal goals Weekly entries in addition to documenting observations you found useful f rom each seminar, pick up on the themes or goals you have set for yourself, cumulatively consider questions such as set out on the previous page (e.g. What are the skills that have proved important to these managers? What can I do to identify and hone these skills in myself?) ASSESSMENT LEARNING REVIEW 30% Consider this your ‘conclusions chapter’ where you integrate your take homes f rom this module: Reconnecting with your personal goal/s for the module.
Reecting on (and perhaps comparing) the ideas explored in the management module last semester, with those encountered in ArtsLives, overall, what is your evolving, personal theory of management in the sector now? Reect on your own career journey (to date or to come) and relationship with these skills, identifying steps you may take to address them where relevant. Finally, please select two speakers whose management style you felt contrasted and offer a view as to which of the two styles you felt would be closer to your own style and approach in a management role. ASSESSMENT CRITERIA The assessment criteria are Please make sure to write in the rst person 1.5 spacing Completed journals and learning reviews are due by 5pm on Friday, 23 April 2021 via Brightspace Reection: Going beyond description of seminar content to reection and developing your own theory of management.
Learning: Making connections, identifying issues, seeing patterns and gaining insights. Application: Attempting to apply insight to your past and future career, and identifying steps you can take to address or apply these insights. Completeness: Regular entries, reecting the full complement of seminars – along with extent of effort to reect and develop your ideas. CURATOR This year I've invited MA graduate Chandrika Narayanan-Mohan to curate ArtsLives @ChandrikaNM Chandrika Narayanan-Mohan is an arts manager and fundraiser with ten years of experience working in the arts in the UK and Ireland, who has also lived in North America, Sweden, and Turkey. After working in the fine arts in London in Christie’s Auction House, The Victoria and Albert Museum, the Jonathan Cooper Park Walk Gallery and the Be Smart About Art Academy, she moved to Dublin and began working in fundraising and business development for the arts.
After working with Business to Arts, the Irish Architecture Foundation and The Liquor Rooms, she is now Marketing and Development Manager at Fishamble: The New Play Company. Chandrika is also a writer and performer. Her work has been published in Writing Home: The ‘New Irish’ Poets from Dedalus Press, Banshee, Honest Ulsterman and Poetry Ireland Review. Chandrika recently won 3rd place in the Fingal Poetry Prize 2020. Chandrika is currently guest editor of Poetry Ireland’s Trumpet pamphlet, and book reviewer for Children’s Books Ireland’s Inis magazine.
Her other projects include co- founding the Irish Craft Cocktail Awards, creating an award- nominated design talk series in association with Institute of Designers in Ireland and The Fumbally Exchange, and being a cultural consultant for arts organisations. SPEAKERS 19 January Margarita Vasquez Cardenas Margarita is an accomplished project and arts manager from Columbia with a decade of experience in the delivery of large-scale collective and public engagement projects. Her enjoyment and passion for the arts has led her to pursue studies in Fine Arts with a postgraduate emphasis in both Painting and Arts Management. Margarita currently works with Maurice Ward Art Handling. Her is former Membership and Project Manager for Business to Arts, and is a graduate of the MA course. @mar13garita 26 January Sasha de Buyl Sasha is the director of Càºirt International Festival of Literature based in Galway.
She is formerly Manager of Scottish Books International, as well as a freelance creative producer, programmer (Aye Write Book Festival - Aye Con, Edinburgh Comic Art Festival, House of 1000 Stories) and event chair. @sashadebuyl 2 February Sarah Williams Sarah is the development Manager at DCU Educational Trust, former Chairperson of GAZE International LGBT Film Festival, Board member of Children’s Books Ireland and formerly Development Manager at Science Gallery Ireland. 10 9 February Francesca la Moja 16 February Timi Ogunyemi Born in Lagos, Made in Dublin. Timi is a curator, videographer, multi-award winning photographer and 'retired' blogger with ‘Picture This Dublin’. In a career spanning Retail Management, Professional Consultancy and Creative Management, Timi has worked on concepting and implementing award winning campaigns with both local and global brands.
He is passionate about using Social platforms to make a positive impact on society. @tweetymonkey Further details about our speakers will be forthcoming in January Dr Francesca La Morgia is a linguist, researcher and social entrepreneur based in Dublin. She is the founder and director of Mother Tongues and Mother Tongues Festival. Her background in linguistics and multilingualism draws her to all forms of creativity that allow for the full expression of individuals' languages and identities. Her creative projects focus on using language as a tool to promote dialogue among individuals and communities to activate social change. In the last 10 years Francesca has been lecturing in linguistics in Trinity College, Ulster University, Maynooth University and the University of Reading.
Her publications focus on bilingualism, intercultural education and diversity in cultural and creative environments. 11 Name _____________________________ Hw 10 ME 222 (Spring 2021) Reading: FEA Uncertainty, SolidWorks FEA 1. Find the following parts and provide the part numbers. (9 pts) a) Fastener, slightly corrosive environment, strength required =100 Ksi, pitch = 2mm, diameter = 14 mm, length = 60mm, thread length = 34mm, hex head (mcmaster.com) b) Rack and pinion, high load, pressure angle = 20°, face width = 1.5â€, pitch diameter = 3.5â€, length = 2’ (mcmaster.com) AC to AC transformer, 120V input, 3A max current (mcmastercar.com) 2. Answer the following regarding the uncertainty in FEA reading. (5 pts) a) What is the minimum number of element through the thickness of a curved component using quadratic elements? b) Between stainless steel and cast iron, which material properties are generally more repeatable? c) What is the greatest source of FEA uncertainty that you can control? d) Why are boundary conditions like pins and rollers used?
Is a basic SW FEA solution valid if your component experiences large displacements? 3. Create a static analysis for the shelf bracket model and perform a mesh refinement study. Use Nylon 6/10 for the material, 50 lb for the force on the front area, and global size controls for the mesh. Produce a plot of number of nodes vs Factor of Safety and use at least 5 points.
What is the FoS convergence value and number of nodes required? (10 pts) 4. Once your mesh refinement study has been completed, perform a material selection study by comparing the minimum factors of safety and component weight for at least 5 materials. Produce a plot with materials labeled. (5pts) 5. Use the slot subroutine to complete the following list of slots. Submit a CAMotics project. (5 pts) Xc Yc Length Width Depth ...5 3..
Modify the subroutine to accommodate slots in any orientation. Create a CAMotics project to simulate the figure below. The slots should be 21mm deep in a 50mm material. Use a 6mm cylindrical bit with a plunge ratio of 50/500. Submit the CAMotics project and requisite files. (10 pts)
Paper for above instructions
Reflective Journal on Cultural Policy in the Arts Sector
Opening Learning Goals Reflection
In embarking on the ArtsLives CULP40240 Cultural Policy 3 module, I aimed to cultivate a deeper understanding of effective cultural sector managerial skills and the leadership qualities that are essential in this dynamic field. I am particularly interested in developing strategic management abilities that enable me to navigate the complexities of cultural projects while fostering a collaborative environment among artists and stakeholders. Each week's seminar promised a wealth of experience from seasoned practitioners, which I hoped to draw upon to enhance my own managerial style, particularly through exploring themes of adaptability, effective communication, and ethical leadership.
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Week 1: Margarita Vasquez Cardenas
Margarita Vasquez Cardenas opened the seminar series with a profound discussion on collective and public engagement in the arts. Her emphasis on inclusivity in project management resonated with me, particularly her belief that art should reflect the diverse narratives of society. A key takeaway for me was Margarita’s focus on the importance of building partnerships across communities, which is essential in cultural management. This has motivated me to think about how I could foster collaboration in my future projects to ensure they are elevating unheard voices and stories (Cardenas, 2021).
Through Margarita’s experiences, I learned that adaptability and responsiveness are vital skills. She articulated how staying attuned to the community’s needs and being flexible in project planning can lead to more impactful engagement. This realization has influenced my goal to develop a more adaptable management style that embraces community involvement in every stage of project development.
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Week 2: Sasha de Buyl
Sasha de Buyl’s insights as the director of Cùirt International Festival of Literature provided another layer of understanding. I was particularly struck by her discussion about the importance of programming that not only entertains but also challenges cultural norms. Sasha's approach to envisioning literary festivals as platforms for socio-political dialogues inspired me to consider how cultural programs can drive social change as well (de Buyl, 2021).
Her emphasis on effective communication skills was a significant takeaway. She stressed that clarity in messaging and the ability to articulate the vision of a project is crucial for rallying support. This conversation pushed me to reflect on my communication style and to seek ways to become more articulate and persuasive in presenting my ideas. I aim to develop a clearer narrative around my projects, ensuring that both participants and audiences understand their importance and relevance.
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Week 3: Sarah Williams
Sarah Williams' session grounded my learning in the practical realities of fundraising and resource mobilization in the arts. Her experiences highlighted the necessity for cultural managers to possess not only creative vision but also the skills to secure funding through strategic partnerships. I was particularly intrigued by her approach to building relationships with donors, moving beyond transactional interactions to establishing genuine connections (Williams, 2021).
This discourse resonated deeply with my learning goals, emphasizing that a successful manager must cultivate their networking abilities. I have resolved to engage more actively in networking opportunities within the arts sector, focusing on establishing lasting relationships that can sustain future projects. Sarah's insights reinforced my understanding that fundraising is foundational to the viability of cultural initiatives.
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Week 4: Francesca La Morgia
Francesca La Morgia’s focus on utilizing language as a tool for dialogue in the arts added a new dimension to my reflections. Her work demonstrates how cultural programming can foster intercultural understanding and social change. I found her perspective compelling, particularly her approach to engaging diverse linguistic communities in cultural initiatives (La Morgia, 2021).
This session propelled me to consider inclusivity in a broader sense, particularly regarding marginalized languages and dialects. I aim to creatively incorporate various linguistic elements into future projects to encourage participation from underrepresented communities, thus promoting a richer, more diverse cultural dialogue. Francesca’s work has inspired me to actively seek out collaborations that diversify the voices and narratives within my project development.
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Week 5: Timi Ogunyemi
Timi Ogunyemi’s session concluded the seminar series on a vibrant note. His insights into creative management and the value of innovative thinking in traditional settings were refreshing. Timi emphasized the impact that digital storytelling and social media can have on cultural dissemination and audience engagement (Ogunyemi, 2021).
His discussion propelled me to explore integrative strategies that employ digital tools to enhance cultural projects. I realized the immense potential that digital platforms offer for reaching broader audiences and facilitating artistic collaboration. Moving forward, I plan to incorporate digital media strategies into my projects to not only market creatively but to also create interactive experiences that invite broader community participation.
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Learning Review and Conclusions
Reflecting on the collective insights from these seminars, my personal theory of cultural management has evolved significantly. I now recognize that successful cultural management requires a multi-faceted skill set encompassing adaptability, effective communication, strategic networking, and innovative thinking. Each speaker illustrated different aspects of these essential skills, highlighting their importance in fostering impactful cultural initiatives.
The contrasts in management styles presented by the speakers—ranging from Margarita’s collaborative focus to Sarah's strategic resource mobilization—encouraged me to consider which aspects resonate with my style. While both approaches have their merits, I find myself leaning towards the inclusivity championed by Margarita, as I believe this creates more sustainable and meaningful projects.
In conclusion, my journey throughout the ArtsLives seminar series has equipped me with valuable insights and tools to pursue a career in cultural management. Moving forward, I aim to integrate these lessons into my professional practice, focusing on creating engaging, inclusive, and innovative cultural experiences. As I strive to refine my skills and approaches, I am excited about the potential opportunities that lay ahead in shaping the cultural landscape.
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References
- Cardenas, M. V. (2021). Personal Communication.
- de Buyl, S. (2021). Personal Communication.
- La Morgia, F. (2021). Personal Communication.
- Ogunyemi, T. (2021). Personal Communication.
- Williams, S. (2021). Personal Communication.
- Bourdieu, P. (1993). The Field of Cultural Production: Essays on Art and Literature. Columbia University Press.
- Throsby, D. (2001). Economics and Culture. Cambridge University Press.
- Kearns, P. (2019). Cultural Policy in Ireland: Planning, Programming and Practice. The Liffey Press.
- Flew, T. (2012). The Creative Industries: Culture and Policy. SAGE Publications.
- O'Brien, D., & O'Hagan, J. (2018). The Cultural Economy: Culture as a Catalyst for Innovation and Creativity. Routledge.