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Transcultural Exchange's 2013 Conference on International Photo: Laura Chichisan TransCultural Exchange‘s 2013 Conference on International Opportunities in the Arts: Engaging Minds Economic Impact Analysis and Program Evaluation 516 East 2nd Street, #30 Boston, MA 02127 617.464.4086 www.transculturalexchange.org 2013 Conference on International Opportunities in the Arts: Engaging Minds Economic Impact Analysis and Program Evaluation Evaluation Staff Submitted by Mary Sherman Research Assistant Tanya Gruenberger Lindsay Ladner Fahrin Zaman Editorial Assistance Marie Costello Lindsay Ladner Fahrin Zaman Layout Siyi Yang Online Survey Tool and Methodology Developed for TransCultural Exchange: Center for Policy Analysis at the University of Massachusetts Dartmouth Correspondence and inquiries should be addressed to TransCultural Exchange, 516 E. 2nd Street, #30, Boston, Massachusetts, 02127 617.464.4086, [email protected] 2013 Conference on International Opportunities in the Arts Economic Impact Analysis and Program Evaluation Table of Contents If you are interested in a particular section, please click on the section number. FORWARD 1.00 INTRODUCTION 1.10 Summary 1.11 Arts in the Global Economy 1.12 Added Benefit: The Impact of Arts on Society, Culture and Politics 1.20 A brief history of TransCultural Exchange and its Conference on International Opportunities for the Arts 1.30 Logistics 1.31 Conference, Exhibition and Exchange Support 1.32 Conference Headquarters and Exhibition Facilities 1.33 Conference Staff and Support 2.00 ECONOMIC IMPACT AND SURVEY EVALUATION 2.10 Methodology 2.11 Process Evaluation 2.12 Survey Evaluation 3.00 ECONOMIC IMPACT ANALYSIS 3.10 Overview 3.11 TransCultural Exchange Expenditure 3.12 Conference Attendee Expenditures 3.13 Total Direct, Indirect and Induced Economic Impacts 4.00 PRELIMINARY OUTCOMES 4.10 Goal 1: Creating a Catalyst for International Exchange 4.11 Dates and Attendance 4.12 Examples of Events 4.13 Benefits to Artists‘ Careers 4.14 Benefits to Institutions and Conference Partners 4.15 Measures of Customer Satisfaction 4.16 Website 4.17 Press Coverage 4.20 Goal 2: Strengthening Communities 4.21 Showcasing Massachusetts‘ Creative Economy 4.22 Promoting a Positive View of America Abroad 5.00 SURVEY INSTRUMENTS AND FINDINGS 5.10 Methodology 5.20 General Information 5.21 Place of Residence 5.22 How did you participate in the Conference? 5.23 What is your annual income level? 5.24 What is your age? 5.25 How did you find out about the Conference? 5.26 The program session and/or Conference activity respondents thought was most valuable. 5.27 Which one of the following best describes you? 5.28 How long have you held your current position? 5.29 If you are an artist, how would you describe your work? 5.30 Spending Data: Approximately how much in total did you spend during your stay in Boston on the following items? 5.40 Satisfaction with the Conference 5.41 What other activities did you attend during the Conference? 5.42 Overall, how would you rate the quality and efficiency of the following aspects of the Conference? 5.50 Interest in Future Conferences 5.51 Would you be interested in attending a similar Conference in 2015? 5.52 Would you be interested in attending a residency program in the Boston area that included international artists? 5.53 Would you be interested in attending a similar conference overseas? 5.60 Open-Ended Questions 5.61 If you attended any of TransCultural Exchange's previous Conferences, how did you benefit from that event? 5.62 Have you participated in any other non-Conference event by TransCultural Exchange or used any other of the organization's services? 5.63 If you did participate in a non-Conference TransCultural Exchange event, did you benefit from that experience? How? 5.64 How do you think this Conference will benefit your career? 5.65 What new skills/knowledge/expertise did you gain from attending the Conference? 5.70 Moving Forward 5.71 How would you improve the TransCultural Exhange Conference 5.72 What would be helpful for you to have on TransCultural Exchange's website? 5.73 Is there anything you wish you had known before attending the Conference? 5.74 What other kinds of activities would you like to see TransCultural Exchange do? 5.75 What Information or topic would you like included in the next Conference? 5.80 Additional Comments 6.00 2014 FOLLOW UP SURVEY 6.10 General Information 6.11 Place of Residence 6.12 Profession 6.13 How long have you held your current position? 6.14 Do you support yourself solely as an artist? 6.20 Arts Events Attendance 6.21 Aside from presentations of your own work, how often do you attend…? 6.22 What is you primary motivation for attending these events? 6.23 Are there obstacles that keep you from attending these events? 6.30 International Involvement 6.31 During the course of a year, how often do you travel abroad? 6.32 If you have had any other experience working internationally (non- TransCultural Exchange related) what impact did it have on your work? 6.33 National vs. International Exposure? 6.40 How do you see your work contributing to the field of art, other fields of study or society in general? 6.50 What activities, resources or types of connections would be fruitful to your development as an artist? APPENDIX A – SURVEY INSTRUMENT A1 - 2013 CONFERENCE SURVEY EVALUATION A2 - 2014 POST CONFERENCE SURVEY A3 - 2011 CONFERENCE SURVEY APPENDIX B - ECONOMIC IMPACT METHODOLOGY APPENDIX C - 2014 AND 2013 SURVEY OPEN-ENDED RESPONSES APPENDIX D – 2011 SURVEY OPEN-ENDED RESPONSES APPENDIX E - PRESS BIBILIOGRAPHY APPENDIX F - CONFERENCE PRESENTERS APPENDIX G - 2013 CONFERENCE PROGRAM SCHEDULE APPENDIX H - TRANSCULTURAL EXCHANGE’S 10TH ANNIVERSARY OF THE COASTER PROJECT, DESTINATION: THE WORLD APPENDIX I - TRANSCULTURAL EXCHANGE'S BROCHURE FOR FLORIAN DUMBOIS' UBOC NO. 1 AND STUVI2 APPENDIX J - MINISTRY OF CULTURE, REPUBLIC OF CHINA, TAIWAN'S BROCHURE FOR TAIWAN ARTIST ACTIONS: REACHING BEYOND APPENDIX K – TRANSCULTURAL EXCHANGE'S EXECUTIVE DIRECTOR, ADVISORY BOARD AND BOARD OF TRUSTEES ACKNOWLEDGEMENTS FORWARD TransCultural Exchange is a U.S. 501(c)(3) non-profit organization,1 best known for its biennale Conferences on International Opportunities in the Arts, which are unique in their scope and aim. The Conferences are designed to acquaint artists with international programs that support artists' work and put them in touch with new cultures, ideas and ways of thinking. The speakers from around the world are artists-in-residency directors, curators, critics, grant makers, funders, gallerists and even scientists. Although other professionals have conferences to meet their peers, share ideas, learn about the latest developments and network, artists did not. Consequently, in the US, many artists may know of such artist-in-residencies as the MacDowell Colony and Yadoo; but, they would be hard pressed to name another. Yet, there are over four hundred of these and other international programs to serve them. The TransCultural Exchange fills that void. Today, the proliferation of residencies, biennales, open studio events and the internet are changing how art is being made and sold. Alongside such traditional media as painting and sculpture, there are now ephemeral works, social interventions, installations and public interactions. A heady new array of possibilities is taking its place. And, these, combined with the rapid-fire onslaught of newer and newer products and ideas, the accompanying anxiety of super-sized, global competition and the race to keep up with the inevitable rise of insatiable appetites causes everything to speed up. Complex ideas are reduced to elevator pitches. Everything is about getting to the end point before anyone else; and, then . getting to the next one. There is little time for discussion, still less for reflection and none for failure. Throughout history and across cultures, the arts have been seen as unique accomplishments of their particular time and place, often one step ahead of popular tastes and prized precisely because of that. Whether or not they always have provided way stations to stop and reflect, they, nonetheless, do serve to engage our senses, our primary means of accessing and knowing the world. Yet at the moment, they seem left flaying about, like a fish out of water, in search of a justification. 1 In 1989 the artists-run TransCultural Exchange was created to produce the organization‘s first project, an exhibtion, film screening and reading of Chicago and Viennese artists‘ works. Then, on September 17th, 2002, the organization incorporated as a 501(c)3 non-profit in the State of Massachusetts. On March 11th, 2013 TransCultural Exchange expanded its operations, opening a ‗daughter‘ NGO in Berlin, TCE TransCultural Exchange gemeinnützige GmbH. This demand for qualifiable and quantifiable justification is nothing new; but the situation is worsening. Nor is it unique to America. If the new European Union funding guidelines are any indication, then European art institutions are beginning to feel the sting of this bottom-line myopia as well2. This means, unfortunately, that it is not enough for artists and those who support them to do great work and advance their field, they need to adopt the same strategies for justification. In other words, it is no longer enough to create, support and show people great art, those who make and support it also have to, for instance, gather statistics to be able to say X number of people attended their programs and X said they learned X. Moreover, in terms of food, beverages and other indirect impacts, X amount of revenue was generated, and if one adds direct impacts as well . This is exactly the aim of this publication. Sadly without this kind of data, TransCultural Exchange would not have survived past its first Conference. This eureka moment came – like most do – from where it was least suspected: a complicated grant obligation.
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