Arts Business Iniave: Program Summary & Materials

Wrien and Complied by Jeffrey Breisach MBA Candidate – Class 2015 Bolz Center for Arts Administraon

Contributed to by Mathew Dreier MBA Candidate – Class 2015 Bolz Center for Arts Administraon ABI Program Summary & Materials 2

Table of Contents Topic Page Purpose 3 ABI-B2M Partnership Summary 4 Arts Business Iniave 4 Arts Enterprise 7 ๏ Guest Speakers 8 ๏ Recommendaons 9 Nonprofit Board Leadership 10 ๏ Community Partner Organizaons 11 ๏ Recommendaons 12 Aesthecs in Business 13 ๏ Recommendaons & Updates 14 Art Business Research Symposium 15 ๏ Speakers 16 ๏ Recommendaons 17 New Arts Venture Challenge 18 ๏ Past Winners 19 ๏ Recommendaons 19 Appendix ๏ Appendix A: Key Faculty and Staff Bios 20 ๏ Appendix B: Support Faculty and Staff Bios 24 ๏ Appendix C: Arts Enterprise 2015 Syllabus 26 ๏ Appendix D: Non-Profit Board Leadership Syllabus 28 ๏ Appendix E: Aesthecs in Business Syllabus 41 ๏ Appendix F: Arts Business Research Symposium Addional Materials 48 ๏ Appendix G: NAVC Addional Materials 50

! ABI Program Summary & Materials 3

Purpose Many schools and businesses across the country have begun to explore the concept of bringing arsts together with those that have tradional business backgrounds. These collaboraons are happening on campuses and in corporate headquarters. While the pares in each instance are similar the goals and purposes of these interacons have tradionally been at the opposite ends of the spectrum.

Businesses have brought arsts in to teach their employees how to break out of the tradional mode of business thinking. Employers are beginning to recognize the value in their employees being able to think creavely, geng beyond the boom line and financial implicaons of a decision, seeing and understand all the parts of a system, and recognizing what the “right” decision is in a larger context. As businesses adapt to an economy and culture where the financial boom line is no longer the greatest and only concern they are discovering a need for a new type of employee that tradional business training can not provide.

On the opposite end of the spectrum, schools have iniated the interacons of business students with arsts more for the sake of the arsts. Many arsts leave higher educaon and pursue their art form in a very entrepreneurial fashion, piecing together their income from a variety of sources and opportunies. Some of those opportunies are preexisng while others are created by the arsts themselves. Without realizing it these arsts become a small business where they have to manage the branding, markeng, finances, negoaons and the other various aspects of being a business without having any formal training in these areas. While the needs of the arsts have been the catalyst for the interacon with their business orientated colleagues, the transfer of knowledge and skills has been found to be bidireconal, with both groups gaining valuable skills from their interacons.

At the University of Wisconsin-Madison, the Arts Business Iniave was launched to formalize the relaonship between business and the arts on campus and leverage the benefits of bringing together two groups of differently minded people. This report will outline how the University of Wisconsin-Madison has built the Arts Business Iniave over the course of its first three years of existence, provide insight to the scope of its impact, samples of materials for all aspects of the Iniave, biographies for all faculty and staff, and recommendaons provided to the Arts Business Iniave on its future direcon. The ulmate goal of this report is to provide a resource for instuons that are exploring the idea of bringing together art and business by sharing how this concept has developed at the University of Wisconsin-Madison.

! ABI Program Summary & Materials 4

ABI – B2M Partnership Summary The partnership between the Arts Business Iniave (ABI) and Bolz 2 Men Consulng (B2M) was formalized in September of 2014. The partnership was formed to assist ABI in analyzing and arculang the impacts the organizaon has made throughout its three-year history. In analyzing the impacts of the three “pillars” of ABI, Curriculum (Arts Enterprise & Board Leadership classes), Co-Curricular (New Arts Venture Challenge), and Research (Arts Business Research Symposium), B2M collected data that was used to cra its final recommendaons to ABI. The recommendaons would be used to define its future direcon when applying for its next cycle of funding. The project was completed in early December 2014 to allow sufficient me for ABI to study the proposed recommendaons and cra its funding proposal for the next three year cycle. Porons of this report is based of the final wrien deliverable B2M presented to ABI in December of 2014. While most of that content has been edited for the purposes of this report, the recommendaons specific to each aspect of ABI have not and are wrien from the perspecve of the B2M consultants.

Arts Business Iniave In 2009, Professor Stephanie Ju received a Kauffman Foundaon Grant to create a class that would teach business skills to arsts. Professor Ju had the idenfied need on the University of Wisconsin-Madison campus for the arsc and creave communies to be taught business skills, to help them to thrive in creave industries once they le campus. The class was offered for the first me in the spring of 2009 as the first Arts Enterprise class. Over the next three year, Arts Enterprise evolved unl The Arts Business Iniave was launched in 2012 formalizing the relaonship between arts and business on the University of Wisconsin-Madison’s campus.

Arts Enterprise marked the beginning of a partnership with the School of Business in the drive to teach business skills to arsts. The class was co-taught by Professor Ju and Andrew Taylor (former Director of the Bolz Center for Arts Administraon). The class proved to be popular amongst students and connued in a similar format through its me under the Kauffman Foundaon Grant. Arts Enterprise also developed and piloted the New Arts Venture Challenge (NAVC). NAVC was designed to be a funding mechanism to help launch student iniaves formulated in the Arts Enterprise class. It was quickly realized that NAVC could have a much wider campus impact and was spun off as an independent offering open to all students; it has since become administered by the Arts Instute.

Following the depleon of the Kauffman Foundaon Grant funds, the Arts Business Iniave was launched. ABI was funded for an inial three-year period through the School of Business Innovaon Fund. ABI oversaw the expansion of the Arts Enterprise class and the introducon of the Department of Connuing Studies as a partner in the class. During the second year of ABI, two new offerings were piloted, the Non-Profit Board Leadership class and the Arts Business Research Symposium. These offerings were designed to broaden the impact of ABI beyond the tradional audience of arsts. Non- Profit Board Leadership was developed to teach board skills to graduate students in the Wisconsin School of Business, but was opened to all graduate level students recognizing that many students will, at

! ABI Program Summary & Materials 5 some point in their careers, serve on a non-profit board. It was also the intent to foster an interest in serving on a board at a younger age to address the imbalance in age on many non-profit boards. The Arts Business Research Symposium (ABRS) was created to bring students and academics together with working professionals to idenfy and share best pracces and trends in the field. The ulmate goal of ABRS is to strengthen individuals, organizaons and the field through the research being presented.

ABI’s three-year cycle of funding through the Innovaon Fund will be complete at the end of the Spring 2015 semester. This ming leaves ABI in a difficult posion. With sources of future funding uncertain, while the organizaon is well posioned for growth, it has been difficult for ABI to plan its future direcon as it develops a proposal for connued funding. This difficulty led to the creaon of a partnership with Bolz 2 Men Consulng to help cra recommendaons based on the past impacts of ABI and expressed future desires of its partners and leadership that could be used to support its request for funding.

Partner Organizaons Bolz Center for Arts Administraon Founded in 1969, the Bolz Center for Arts Administraon prepares administrave leaders of arts and culture. Housed in the University of Wisconsin-Madison School of Business, the Bolz Center combines an intensive focus on business disciplines, theory, and praccal applicaon, with a deep and dynamic exploraon of mission-driven management. The primary acvity of the Bolz Center is the MBA degree with a major in arts administraon. This two-year, full-me degree program blends graduate coursework in business and arts administraon, disnguished guest speakers, and real-world work experience. The unique combinaon of coursework, networking, and hands-on experience is designed to prepare graduates for the unique challenges of working in arts and culture.

Wisconsin School of Business Founded in 1900, the Wisconsin School of Business (WSoB) established one of the first five business programs in the naon. That entrepreneurial spirit remains strong. Located within one of the world's leading public research universies, the Wisconsin School of Business is a vibrant community that honors our university's commitment to research and public service. The WSoB believes public research universies hold great untapped potenal to address the world's most complex challenges. At the Wisconsin School of Business, we are uniquely posioned to redefine the partnership between universies and the business community. The WSoB strives to foster a passionate and diverse community of scholars, leaders and learners to address the business challenges, inspire leadership, and improve lives.

Arts Instute The Arts Instute is the voice of the Arts at the University of Wisconsin-Madison. In the spirit of the Wisconsin Idea, the Instute supports and promotes a comprehensive variety of arts programs and disciplines, whether it is our own specific programs or our partners’ events. Early in 2014, the Instute was constuted as an independent division, which allows the Instute to establish its own curriculum. By working with numerous faculty and staff in a wide range of departments and arts-related fields, the

! ABI Program Summary & Materials 6

Arts Instute is in the posion to create/generate condions for bold thinking and creave problem solving.

Department of Connuing Studies The Division of Connuing Studies supports the mission of the University of Wisconsin-Madison and the spirit of the Wisconsin Idea by providing access to educaonal resources to nontradional students, lifelong learners, and the community. The division's primary role comprises leadership, administrave oversight, and markeng responsibility for UW-Madison's noncredit offerings, credit outreach, and summer session. The division also advises and admits adults seeking to enroll as University Special or Guest Students. Each year more than 17,000 lifelong learners from around the community, across the state and throughout the naon aend one or more of the 500 noncredit classes, workshops and conferences sponsored by Connuing Studies in the areas of professional development, personal enrichment, career transions and educaonal advising.

Key Faculty & Staff* ๏ Sherry Wagner-Henry: Director - Bolz Center for Arts Administraon ๏ Don Hausch: Faculty Director - Bolz Center for Arts Administraon ๏ Sarah Marty: Program Director - Connuing Studies ๏ Norma Saldivar: Execuve Director - Arts Instute ๏ Stephanie Ju: Professor - School of Music ๏ John Surdyk: Director - G. Steven Burrill Business Plan Compeon Associate Director - Iniave for Studies in Transformaonal Entrepreneurship

Support Faculty & Staff** ๏ Diane Ragsdale: Vising Arst in Residence and Instructor for Aesthecs in Business - Erasmus University/Bolz Center for Arts Administraon ๏ Dennis Johnson: Guest Lecturer - Forward Community Investments ๏ Kathie Nichols: Guest Lecturer - Forward Community Investments ๏ Ben Williams: Guest Lecturer - Forward Community Investments

Current ABI Programs & Offerings ๏ Arts Enterprise: Art as Business as Art ๏ Non-Profit Board Leadership Development ๏ Arts Business Research Symposium ๏ New Arts Venture Challenge ๏ Aesthecs in Business

Major Funding Sources ๏ Wisconsin School of Business - Innovaon Fund ๏ University of Wisconsin-Madison - Connuing Studies ๏ Provost Fund

* See Appendix A for bios ** See Appendix B for bios

! ABI Program Summary & Materials 7

Arts Enterprise Prior to the creaon of ABI, Arts Enterprise was funded through a Kauffman Foundaon Grant awarded to Professor Stephanie Ju in 2009. The class was originally offered in spring semesters only and was taught jointly by Stephanie Ju and Andrew Taylor (former Director of the Bolz Center for Arts Administraon). Sherry Wagner-Henry replaced Andrew Taylor as the Director of the Bolz Center following his departure from the University in 2012. It was at this point that Arts Enterprise was absorbed into ABI. Since its incepon, the Arts Enterprise class has changed drascally in an aempt to beer align with the idenfied needs on campus. The class has grown from a spring-only offering to being offered in both fall and spring semesters. The final staff adjustment was to bring Sarah Marty on board to teach to the class. This last shi in staff also saw the introducon of Connuing Studies as a partner in supporng the class. Curriculum has also shied as the class has evolved to its current state. Arts Enterprise is the flagship offering of ABI and draws a wide range of primarily undergraduate students from across campus. Graduate and Connuing Studies students only represent approximately 19% of the course enrollment. It is currently the most widely accessed in aspect of ABI.

The data on Arts Enterprise parcipaon was obtained through a number of sources. The primary sources were course enrollment, course content, and class surveys. This data exists for the last three semesters of Arts Enterprise, beginning in Fall 2013. Secondary sources were interviews of Sarah Marty, Jeff Russell, Don Hausch, & Sherry Wagner-Henry and class planning documents. These sources of data yielded significant insight into the impact of Arts Enterprise.

Arts Enterprise - Vital Stascs ๏ 103 students (Fall 2013, Spring 2014, & Fall 2014) ๏ 34 students averaged per class ๏ 28% of students are pursuing the Entrepreneurship Cerficate ๏ 81% of students we re undergraduates ๏ 57.2% of students select the MHR Designator ๏ Highest non-MHR designators are Art & Theater ๏ Overall percentage of students selecng through MHR has declined by almost 15%

Partner Organizaons ๏ Bolz Center for Arts Administraon - University of Wisconsin-Madison ๏ Connuing Studies - University of Wisconsin-Madison

Key People ๏ Sherry Wagner-Henry: Director - Bolz Center for Arts Administraon ๏ Sarah Marty: Program Director - Connuing Studies ๏ Stephanie Ju: Professor - School of Music (not currently involved)

* See Appendix C for Arts Enterprise Syllabus

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Arts Enterprise Guest Speakers

Arts Enterprise – Fall 2013 – Guest Speakers ๏ Erin Hood – “Pain Project,” PhD, Wisconsin Institute for Discovery ๏ Arts Venture Challenge Finalists - Team members of “Victorian Eyes” ๏ Elizabeth Russell – local consultant and lawyer, entertainment lawyer ๏ Eric Sheinkop – Music Dealers Association, UW Graduate ๏ Norman Moses – accountant, Equity actor ๏ Michael Velliquette – UW Professor of Art, structural, paper pieces, large installations, digital art ๏ Barry Carlsen – visual artist, teaches lithography at UW, graphic designer for University Communications ๏ Matt Troge – ilm editor, daybreak editor for news station, creative director with WNP ๏ Matt Dreier – ilmmaker and producer, theatre artist, arts administrator ๏ Jesse Stommel – documentary ilmmaker, digital humanities ๏ Adam Braus – entrepreneur behind ArtUP Weekend, TedX Madison, 100 State ๏ Sarah Marty – Four Seasons Theatre, Forward Theater, UW Varsity Band Show, large scale theatrical events, educational conferences and workshops ๏ Shannon Matesky – spoken word artist, actress, dancer, educator, activist ๏ Scott Haden – actor, marketing specialist, producer ๏ Matt Gerding – owner of Majestic Theater, music promoter and concert venue ๏ Chris Staples – founder of Shitty Barn Sessions, box ofice at APT ๏ Jason Sheridan – professional musician in rock band Bascom Hill, Bose rep ๏ Laura Zabel – Executive Director for Springboard for the Arts ๏ Wayne Valliere – UW Guest Artist-in-Residence, Ojibwe language, culture, art ๏ Gwen and Kyle Johnson – Johnson Public House ๏ Joshua Berkson and Patrick Sweeney – owners of Merchant restaurant ๏ Brian Elison – owner of Death’s Door Spirits

Arts Enterprise – Spring 2014 – Guest Speakers ๏ Mary Perkinson - Sound Health, musician, Arts Venture Challenge inalist ๏ Melanie Cain – Fresco Opera founder and artistic director, singer, teacher ๏ Brian Anderson – house sound tech at Overture Center, sound engineer for rock concerts, sound designer for UW Varsity Band Show ๏ Joe Hardtke – Senior Broadcast Specialist for WI Public Radio, sound designer & engineer ๏ Jesse Stommel – documentary ilmmaker, digital humanities ๏ Ben Reiser – Wisconsin Film Festival, amateur ilmmaker ๏ Laurie Scheer – screenwriter for television and ilm, editor ๏ Mark Nelson – Professor of Design Studies, architect and visual artist ๏ Kevin Hahn – head of Box Ofice at Overture Center, Tessitura specialist ๏ Eric Salisbury – development director at UW Foundation, former professional dancer ๏ Barry Carlsen – teaches lithography at UW, graphic designer, visual artist ๏ Shannon Matesky – spoken word artists, actress, dancer, educator, activist ๏ Chris Staples – founder Shitty Barn Sessions, box ofice at APT ๏ Jacqueline Singleton – owner of catering business at Arcadia Books, stage manager at APT ๏ Maureen Janson Heintz – choreographer, dancer, teacher ๏ Kate Corby – Professor of modern dance at UW, choreographer, dancer, teacher ๏ Joshua Berkson – chef and entrepreneur, co-owner of Merchant

! ABI Program Summary & Materials 9

Arts Enterprise Recommendaons Excerpt from B2M – ABI Summary Report & Recommendaons Split Arts Enterprise Class: There is no dominant major represented among the students who have taken Arts Enterprise in the last three years. Both arts-based and non-arts based majors are represented in relavely equal amounts, with majors ranging from Interior Architecture to Communicaon Arts to Economics. A qualitave list of interest areas (as submied by the student at the start of each semester) shows an even wider area of creave interest. The class is currently cross-listed under mulple- departments, under a specific effort to introduce the class to students through their current class search process. However, the class is taken in an even split between MHR-365 and all other designators combined. Addionally, the amount of students are taking the class in an effort to complete a cerficate in Entrepreneurship is at 28%. With the high amount of undergraduates in the class, and their tradional higher levels of Entrepreneurship Cerficate parcipaon, we believe that the possibility of the addional cerficaon is not a major factor in student selecon of the class. We believe that the class is taken by two primary groups of students: non-arts based background students who are interested in the wide field of creave entrepreneurship and students who wish to pursue an arts-based career or venture. The current curriculum appears to reflect this disncon with a balanced approach including guest speakers, an enterprise proposal, and a personal porolio. Student feedback suggests uneven engagement with the enrety of the course assignments but high levels of approval of the content of the course. Given this informaon, we advocate spling the class into two separate classes: Creave Enterprise and Arts as Business. These names are being used here as descripve place holders for the two classes and will be used throughout.

Creave Enterprise will be an undergraduate only offering. In the first year of implementaon, we recommend that it is offered in the fall semester only, but it may grow to a two-semester offering. This class would focus specifically on the intersecon of creavity and business. Its curriculum offering would focus more heavily on readings, presentaons, case studies, and guest speakers. This class would be a great candidate to ulize to provide early engagement with freshman or sophomore undergraduate students.

Arts as Business will be a class for undergraduate, graduate, and connuing studies students. To allow for what may be lower enrollment numbers than the culminate Arts Enterprise class, we recommend offering this class in the spring semester only. As this class would focus more directly in developing arts-specific business skills, it would provide more focus on an enterprise proposal and personal porolio. This also allows this class to directly generate content for the New Arts Venture Challenge. We believe that this offering will generate significantly more interest from graduate and connuing studies students, who are looking for business skill engagement specifically tailored to an intermediate level of previous knowledge. It may be advisable to recommend that Creave Enterprise be taken as a pre-requisite for any undergraduate considering Arts as Business, who don’t already have a business venture or idea that want to develop.

! ABI Program Summary & Materials 10

Non-Profit Board Leadership Non-Profit Board Leadership was launched in 2013. This class is focused on providing real world experience with a non-profit board to graduate level students. The class was designed in response to an idenfied curricular and skills gap. The creaon of the class was also seen as an opportunity to provide the skills necessary for serving on non-profit boards. Involving addional students beyond the Bolz Center was determined to be important to address the industry-specific issue of young people being under-represented on non-profit boards. Board Leadership has accomplished its objecve of reaching beyond the Bolz Center and the Wisconsin School of Business and engaging with other schools on campus. During its second year, Board Leadership made a significant adjustment to the curriculum, increased the teaching staff to four and brought in addional community partners. The current goal for the Board Leadership class is that it will connue to grow to incorporate a connually more diverse collecon of students and partner organizaons, serving a growing percentage of graduate students.

Non-Profit Board Leadership data was praccally non-existent when the project began. Having just completed the first iteraon of the class the only data available was limited to basic student and organizaonal informaon. The only exit survey that had been completed was largely unavailable due to University restricons. Therefore, it was determined that addional data would be required to form recommendaons about the future direcon of the class. B2M developed a survey that was sent to the 8,370 graduate and doctoral students currently enrolled at the University of Wisconsin-Madison. Of those, approximately 2,700 opened the survey request and 417 surveys were completed. Given the nature of the survey distribuon and size of the target audience, we feel the response rate of 5% was more than adequate to provide aconable data. The survey was anonymous and but did collect vital stascs on what college/ school respondents are enrolled in, program informaon, and graduaon year. The survey was designed to measure awareness of the Board Leadership class, what factors are discouraging students from enrolling, and what aspects current, past and prospecve students would recommend be adjusted to improve the class and encourage enrollment.

! ABI Program Summary & Materials 11

Non-Profit Board Leadership - Vital Stascs ๏ 31 Students enrolled over the last 2 years ๏ 58% of the students are Wisconsin School of Business MBAs ๏ Other students from La Follee School of Public Affairs, Nelson Instute, College of Ed, and CALS ๏ 14 local partner organizaons ๏ 100% of partners in 2013 wanted to parcipate in the following 2014 class

Partner Organizaons ๏ Bolz Center for Arts Administraon - University of Wisconsin-Madison ๏ Forward Community Investments

Key People ๏ Sherry Wagner-Henry: Director - Bolz Center for Arts Administraon ๏ Don Hausch: Faculty Director - Bolz Center for Arts Administraon ๏ Kathie Nichols: Class Instructor – Forward Community Investments ๏ Dennis Johnson: Class Instructor - Forward Community Investments ๏ Ben Williams: Class Instructor – Forward Community Investments

2013 – 2014 Non-Profit Board Leadership Community Partner Organizaons ๏ Forward Community Investments ๏ Foundaon for Madison’s Public Schools ๏ Forward Theatre Company ๏ Goodman Center ๏ Girls on the Run ๏ Clean Lakes Alliance ๏ Arts Wisconsin

2014 – 2015 Non-Profit Board Leadership Community Partner Organizaons ๏ Foundaon for Madison’s Public Schools ๏ Forward Theatre Company ๏ Goodman Center ๏ Clean Wisconsin ๏ Wisconsin Literacy ๏ Wisconsin Academy of Sciences, Arts and Leers ๏ Commonwealth Development Agency ๏ Journey Mental Health ๏ Madison Museum of Contemporary Art ๏ YWCA

*See Appendix D for Nonprofit Board Leadership Syllabus

! ABI Program Summary & Materials 12

Nonprofit Board Leadership Recommendaons Excerpt from B2M – ABI Summary Report & Recommendaons

Adjust Board Leadership Offering: The results of our Board Leadership class survey idenfied three primary concerns: the class meeng me, the # of semesters (currently 2), and the # of credits offered (currently 4 total, 2 per semester). 92% of the students surveyed who had taken the class, or considered taking the class, idenfied these as the primary issues for them. However, the overall posive recommendaon rate of the class was 70%. We believe that this demonstrates ongoing posive student support for the class and recognion of its value; it suggests the possibility for higher student engagement levels if the class undertook structural changes.

Based on this, we recommend adjusng the Board Leadership class to a single semester fall offering. Addionally, we recommend increasing the credits offered to three (3). It is our determinaon that this change provides significant benefits, in regards to maintaining demonstrable learning outcomes while also increasing student parcipaon and decreasing class expenses. The work currently being accomplished in two semesters can be accomplished in a single semester, with a couple of preparaon adjustments. Specifically, boards should be more thoroughly screened to allow for early idenficaon of schedule conflict, adequate meeng mes in a single semester, and for possible strategic projects. By increasing the credit load to 3, the class will have the ability to meet on a more consistent and longer basis; similar to other classes offered to graduate students. This increased me should allow for consistent content delivery while also providing enough me for required partner organizaon events. As most graduate schools with the UW-Madison system provide credit requirements in mulples of three, it becomes significantly easier and more appealing for a student to take the class as an elecve when it is a single semester three-credit course. This would allow it to fit neatly within a student’s schedule, without necessitang an addional course to cover the single credit deficit (as the current structure does). We also believe that the concern around the meeng me of the class is primarily addressed by the process of carrying over all three meeng types/mes from the second semester (class, board, and commiee). Most students do not know their second semester commitment unl November of that year and the students surveyed had concerns over the high potenal risk for class overlap.

While we understand the desire of ABI to provide students with a “year-long learning experience” on a partner organizaon’s board, we believe that the benefits of this change outweigh any gains from keeping the class in two semesters. Not only do we believe that student engagement would be higher, we believe that the class can be restructured without the loss of any of the demonstrable learning outcomes currently established. Addionally, by offering the class for one semester instead of two, the expense associated with instrucon should decrease dramacally.

! ABI Program Summary & Materials 13

Aesthecs in Business (AKA Approaching Beauty) Prior to this class ABI has been mostly focused on teaching business skills to arsts. Aesthecs in Business aims to further reverse the skill flow and teach business students the benefits of viewing the world through the eyes of an arst. Many employers are seeking graduates that have the ability to think creavely, grasp the non-raonal, and beer see and understand relaonships among the various elements in a system. These are the types of skills that arsts can share with their business-oriented counterparts.

Aesthecs in Business aims to give business students the tools and encouragement to culvate an aesthec sensibility. Students parcipated in a combinaon of discussion on the role beauty plays in modern society; curated and self-directed aesthec experiences; and mulmedia expression of their reacon to their experiences in a porolio.

Aesthecs in Business was first offered in the Spring of 2015 and was designed as a single iteraon. While the class is not slated to connue in future semesters, elements of beauty and aesthecs that were developed in this class will be incorporated in other classes offered in the Business School. While Aesthecs in Business was designed for a primarily undergraduate audience, these elements can be incorporated in both undergraduate and graduate level courses.

Aesthecs in Business - Vital Stascs ๏ 22 students ๏ 100% of students were undergraduates

Partner Organizaons ๏ Bolz Center for Arts Administraon - University of Wisconsin-Madison

Key People ๏ Diane Ragsdale: Vising Arst in Residence and Instructor for Aesthecs in Business - Erasmus University/Bolz Center for Arts Administraon ๏ Sherry Wagner-Henry: Director - Bolz Center for Arts Administraon

* See Appendix E for Aesthecs in Business syllabus

! ABI Program Summary & Materials 14

Aesthecs in Business Recommendaons & Update At the me ABI entered into the consulng process to determine its impacts and future direcon Aesthecs in Business was sll in the development phase. Subsequently it was impossible to assess its impact or fully determine what elements of the class could be incorporated into regular offerings in the Business School. Because it was not possible to form recommendaons based on Aesthecs in Business’s full impact none have been developed at this me.

In the semester preceding Aesthecs in Business, ABI partnered with the Compass program which serves all BBA students on campus to help students develop through experiences beyond those found in a tradional classroom seng. This partnership involved curated experiences with the objecve of introducing students to the value of aesthecs in business and life. These were designed to be implemented on much larger scale than the experiences in the Aesthecs in Business course. Currently the impacts and outcomes of the experiences offered through the Compass partnership and the Aesthecs in Business course are being evaluated to determine which experiences can be successfully be incorporated into BBA coursework and the Compass program. The analysis is based heavily on qualitave feedback from students that parcipated in the various experiences. ABI staff is looking for is evidence the experiences have caused students to change how they think about a situaon they are presented with. It is the goal of ABI to connue their partnership with the Compass program and begin incorporang their findings beginning in the Fall 2015 semester.

! ABI Program Summary & Materials 15

Arts Business Research Symposium (ABRS) The Arts Business Research Symposium (ABRS) debuted in the spring of 2014 and is the newest standing aspect of the Arts Business Iniave. ABRS is a joint producon effort between the Bolz Center for Arts Administraon and the Department of Connuing Studies. Starng in 2015 it will operate on a annual cycle in partnership with Arizona State University’s Pave Program in Art’s Entrepreneurship. Arizona State University will host the 2015 iteraon of ABRS with the Symposium returning to Wisconsin in 2016 This partnership has also resulted in an offer to the Bolz Center to co-host the PAVE Biennial Symposium, giving students, praconers and academics a symposium offering every spring (as opposed to once every two years) thus increasing interacon, presentaon, sharing of knowledge and co-creaon of research at a higher rate. The inial 2014 Symposium was a great success and marked a significant expansion of ABI’s impact. For the first me in ABI history, significant numbers of working professionals were engaging with students and academics to share and discover best pracces in the field. In addion to the wide range of backgrounds and organizaons represented by ABRS parcipants, 15 guest speakers brought knowledge and experiences from 9 different states. While the financial aspects of each ABI pillar are not something we are specifically addressing due to the unique nature of the University of Wisconsin-Madison’s funding model, it is worth nong that ABRS was nearly profitable during its first year. This represents significant growth of impact potenal.

Data for ABRS was collected primarily from the post-symposium survey sent to all parcipants. This hard data was supplemented by interviews with Sherry Wagner-Henry and Sarah Marty and planning documents for the 2014 and 2015 iteraons of ABRS. The survey response rate was approximately 48%.

Arts Business Research Symposium - Vital Stascs* ๏ 105 Aendees ๏ 86% rate ARBS as Excellent or Very Good ๏ 15 Speakers from 9 States ๏ 34.7% of registraon fees were waived ๏ Total revenue covered 74.3% of expenses ๏ 81% of parcipants were reached through email, supervisor, or website

Partner Organizaons ๏ Bolz Center for Arts Administraon - University of Wisconsin-Madison ๏ Connuing Studies - University of Wisconsin-Madison

Key People ๏ Sherry Wagner-Henry: Director - Bolz Center for Arts Administraon ๏ Don Hausch: Faculty Director - Bolz Center for Arts Administraon ๏ Sarah Marty: Program Director - Connuing Studies

* See Appendix F for addional ABRS materials

! ABI Program Summary & Materials 16

Selected 2014 ABRS Presenters

๏ Sonia Bas Sheva Manjon - Director of the Barnett Center for Integrated Arts and Enterprise, The Ohio State University – Columbus, OH

๏ Sam Dyson - Director of the Hive Chicago Learning Network at Mozilla Foundation - Chicago, Illinois

๏ Linda Essig - Director of PAVE Center, ASU’s arts entrepreneurship program at the Herberger Institute for Design and the Arts and Editor of Artivate, Arizona State University - Phoenix, AZ

๏ David Flatley - Executive Director of Columbia College, Chicago’s Center for Community Arts Partnerships – Chicago, IL

๏ Anurag Gupta - Research Scholar in Law & Social Entrepreneurship, Jacobson Leadership Program in Law & Business at New York University - New York, NY

๏ Erica Halverson - Associate Professor of Curriculum and Instruction, School of Education, UW-Madison – Madison, WI

๏ Noah Keesecker - Director of Artist Development, Springboard for the Arts - Saint Paul, MN

๏ Elizabeth Long-Lingo - Consultant, formerly of Vanderbilt University, Director of Curb Programs in Creative Enterprise and Public Leadership, Director of Vanderbilt Creative Campus Initiative - Nashville, TN

๏ Heather Pontonio - Program Oficer for the Arts, Emily Hall Tremaine Foundation - New Haven, CT

๏ Thaddeus Squire - Executive Director at CultureWorks - Philadelphia, PA

๏ John Surdyk - INSITE and Weinert Center for Entrepreneurship – Madison, WI

๏ Sherry Wagner-Henry - Director, Bolz Center for Arts Administration and Arts Business Initiative, UW-Madison – Madison, WI

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Arts Business Research Symposium Recommendaons Excerpt from B2M – ABI Summary Report & Recommendaons

Graduate Students Only: By restricng the conference to graduate students only, ABI can assure that all parcipants have had a modicum of real-world experience from which to draw conversaon. This move would allow the research being presented to be of a more substanal level, allowing for these students to receive valuable immediate feedback from experience academics and praconers alike. Addionally, this move would allow for more direct connecon me between the speakers (a much-menoned highlight in survey results and interviews) and the remaining parcipants. As there seems to be a strong focus on providing table-based conversaons, this change will allow for those conversaons to be had on a more in-depth level. By removing undergraduate students from this event, it will allow ABI to make ABRS more consistent in its external messaging, making it much more of a networking and growth opportunity for students and professionals alike.

Focus on Financial Sustainability: During the first year of existence, total revenue for the event covered 74.3% of overall expenses. While this number seems to suggest a significant distance between its current status and overall financial sustainability, it is misleading due to the way registraon was conducted at this event. During the 2014 ABRS, 34.7% of registraon fees were waived. If all registraon fees had been collected, ABRS would have been profitable in its very first year. While we are not recommending doing away with waived registraon fees for individuals determined by ABI leadership, we do believe that this event has a disnct possibility of generang a profit in near future. By focusing on driving down costs, and increasing (paid) registraon, the Arts Business Research Symposium can be financially sustainable. This acon would allow for a more consistent revenue stream, possibly to aid future strategic iniaves.

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New Arts Venture Challenge (NAVC) New Arts Venture Challenge (NAVC) was first held in the spring of 2009 as part of the inial Kauffman Foundaon Grant. That year, $2,000 was awarded to the winning proposal and an addional $500 to the first runner-up. Over the past six years of the annual compeon, the prize money has grown to $3,500 total per year and to date, $18,000 has been awarded. NAVC has aracted an impressive variety of proposals from individuals and teams, comprised of undergraduate, graduate, and doctoral students and working professionals. These students and community members represent the enre spectrum of the arts. From classical to folk, performance to stac displays to wellness, the proposals NAVC has generated have had a lasng creave impact on the greater Madison community. For the last two years, John Surdyk of INSITE and the Burrill Business Plan Compeon have provided access to the E-ship network on campus for NAVC finalists to meet other entrepreneurs on campus, as well as providing space and integraon into the Burrill Compeon by making NAVC part of Burrill programming on compeon day. Finalists for NAVC present to Burrill parcipants as they wait for news regarding their own compeon, thus giving increased exposure for all compeons.

Data for NAVC was gathered from a variety of sources. The principal two sources were interviews with Professor Stephanie Ju and Norma Saldivar as well as the data retained by NAVC on past winners and submissions. The data provided by NAVC was limited in that non-winning submissions from years prior to 2014 were not retained. This made it difficult to construct a complete profile of NAVC between 2009 and 2014. However addional informaon provided by Stephanie Ju allowed some generalizaons to be made.

New Arts Venture Challenge - Vital Stascs* ๏ 6 connuous years (2009-2014) ๏ Up to 30 submissions per year ๏ 66% of all finalists/winners are from teams with mulple members ๏ Top award is $2,000 ๏ Runner-up awards are $500 each ๏ Total prize money has grown from $2,500 to $3,500 per year ๏ $18,000 total awarded to 18 different groups comprised of 31 students

Partner Organizaons ๏ Arts Instute - University of Wisconsin-Madison

Key People ๏ Norma Saldivar: Execuve Director - Arts Instute ๏ Stephanie Ju: Professor - School of Music ๏ John Surdyk: Director - G. Steven Burrill Business Plan Compeon Associate Director - Iniave for Studies in Transformaonal Entrepreneurship

* See Appendix G for addional NAVC materials

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Past NAVC Winners

YEAR 1st place Discipline Runner Up Discipline 2009 VIBES Music/Outreach Hip-Hop Fashion Show Fashion/Design 2010 Ephemeral Art Dance Music Rx Music/Outreach 2011 New Music Music Haunt House Performance Art Everywhere Classical Revolution Music Festival Outdoor Collaborative Theater Theater 2012 Loading Zone Visual Art Clocks in Motion Music DEEP SONG by Classical Revolution Music/Dance ARTworks Dance Bare Pursuit Theater Theater 2013 Victorian Eyes Art/Literacy Clocks in Motion Music Cooking with Frank N. Foode Culinary Arts Kathleen Cameron and Henry Holes for Dance Kinetic 2014 Madison Youth Music/Education These Canoes Carry Culture Folk Art Chamber Dream Collective Theater/Psychology Orchestra Crowd Art Visual Art

New Art Venture Challenge Recommendaons Prior to ABI entering into the consulng process with B2M for program impact analysis and recommendaons, NAVC had already begun to take inial steps to review the program and in planning its future direcon. Based on the data collected and the interviews conducted B2M decided that NAVC was already working to posion itself well for future growth and would not benefit from any addional recommendaons. To generally summarize the course NAVC has set itself upon, the program is working to strengthen its internal processes and melines, increase is markeng efforts and visibility on campus, solidify current funding commitments and seek addional sources, and be much more rigorous in data collecon.

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Appendix A: Key ABI Faculty and Staff Sherry Wagner-Henry Director Bolz Center for Arts Administraon University of Wisconsin-Madison School of Business

Sherry Wagner-Henry has extensive experience in arts administraon and higher educaon. She comes to us from the University of Minnesota-Minneapolis/St. Paul, where she was most recently director of graduate programs for the College of Connuing Educaon and faculty director of their Master of Professional Studies in Arts and Cultural Leadership (ACL). She created the ACL masters and, within the college, substanally grew the number of masters degrees and cerficates. Through her efforts, enrollment, scholarship support, and general revenue all increased. Previously, at the University of Minnesota, she was managing director, University Theatre and Dance, and execuve director, Minnesota Centennial Showboat.

As the director for the Bolz Center for Arts Administraon, Sherry is responsible for the ongoing development of the Bolz Center, recruitment of students, and development of enhanced educaonal experiences, as well as advisory board engagement and job placement for center graduates.

Sarah Marty Arts Enterprise Instructor Arts Program Area Director Department of Connuing Studies University of Wisconsin-Madison

Sarah Marty is the Arts Program Area Director and coordinates UW Connuing Studies theatre, arts management, and dance programs. She teaches “Arts Enterprise: Arts as Business” in collaboraon with the Bolz Center and UW School of Business, serves as the Producon Manager for the UW Varsity Band Spring Concert, and works on a per project basis as a consultant for large scale events on and off campus. She has a Master’s Degree in Business from the Bolz Center for Arts Administraon, a Master of Science degree in Curriculum & Instrucon, and a Bachelor's of Music Educaon from University of Wisconsin-Madison. Sarah is the Producing Arsc Director for Four Seasons Theatre Company and the Fesval Director for the Madison Early Music Fesval, and has taught in both the Middleton-Cross Plains and the Madison Metropolitan Area School Districts. For Madison Opera she worked as supertles cuemaster, Assistant Producon Manager, and an Event Coordinator.

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Donald Hausch Faculty Director Bolz Center for Arts Administraon Associate Dean Evening & Execuve MBA University of Wisconsin-Madison School of Business

Donald B. Hausch is the Dickson-Bascom Professor of Business and a professor in the Operaons & Informaon Management Department of the Wisconsin School of Business. He is the Associate Dean for the Evening & Execuve MBA programs and the Faculty Director of the Bolz Center for Arts Administraon.

His research has explored the game-theorec analysis of aucons and compeve bidding, with a special focus on informaon acquired prior to and discerned through the aucon process itself. He also has researched bankruptcy reorganizaon and financial restructuring through negoaons and security design, the design of contracts and their ability to achieve efficient trade outcomes, and an empirical invesgaon of market inefficiency.

Hausch has co-authored two books and two edited volumes, and wrien numerous arcles that have been published in the American Economic Review, Review of Financial Studies, Internaonal Economic Review, Management Science, Journal of Business, Journal of Applied Corporate Finance, Economic Theory, RAND Journal of Economics, and other journals. He was an associate editor of Management Science for 10 year. He has consulted for the World Bank on the resoluon of systemic financial distress, and he received a Vilas Research Award from the University of Wisconsin-Madison.

Hausch teaches the managerial economics course in the full-me MBA core program, the Evening MBA, and the Execuve MBA. He has also taught advanced masters/Ph.D. courses on economics of organizaon and on game theory. He previously served four years as the director of the Execuve MBA program and three years as Associate Dean for the MBA program. He was awarded the Jerred Service Award from the Wisconsin School of Business.

His Ph.D. is from Northwestern University’s J.L. Kellogg Graduate School of Management in managerial economics and decision sciences.

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Norma Saldivar Execuve Director Arts Instute University of Wisconsin-Madison

Norma came to the University of Wisconsin in 1998, and currently serves as the Director of the Graduate Direcng Program. She has served as Arsc Administrator & Resident Director for Milwaukee Repertory Theatre during which me she served as casng director and internship coordinator. Norma earned a BFA in Acng from Illinois Wesleyan University and a MFA from the University of Illinois-Champaign and is a member of the Society of Stage Directors and Choreographers. Norma has served as adjunct faculty and taught seminars at presgious instuons such as UCLA, USC, University of South Carolina, and University of Wisconsin-Milwaukee.

Her many professional credits include: Blind Parrot Producons, Absolute Theatre Company, Center Theatre-Chicago; Illinois Repertory Theatre, Urbana, Illinois; Milwaukee Repertory Theatre, Next Act Theatre Company, Renaissance Theatre-works, Milwaukee Chamber Theatre, Milwaukee, Wisconsin; Madison Repertory Theatre-Madison, Wisconsin; San Jose Repertory Theatre- San Jose, California; A Contemporary Theatre, Seale, Washington, to name a few. College/University credits include: University of California, Los Angeles; University of Southern California; University of Wisconsin-Milwaukee; University of Wisconsin-Whitewater, Illinois Wesleyan University; and Beloit. Stephanie Ju Professor of Flute University of Wisconsin-Madison

Flust Stephanie Ju’s elegant arstry and passionate intellect have inspired musicians and audiences around the world. Her groundbreaking performances of new music, transcripons, and tradional repertoire have made her a model for adventurous flusts everywhere. Transcripons of three Brahms sonatas, for flute and piano,by Ms. Ju have been published by Internaonal Music Publishing, as well as a new edion of the Reineke Sonata. An all-Brahms recording with pianist Jeffrey Sykes, is available on Centaur. Two CDs of chamber music, Postcards from Madison I and II, are available through University of Wisconsin Press.

A graduate of the New England Conservatory of Music, her teachers were James Pappoutsakis, Paula Robison, and Marcel Moyse. Ms. Ju was a first prize recipient of the Concert Arst Guild and Pro Musicis Internaonal Soloist awards, and was finalist in the Internaonal Walter W. Naumburg Compeon. She has performed in recital throughout the U.S., Europe, South America and Asia. Ms. Ju has served as a board member and Program Chair for the Naonal Flute Associaon, and is currently a member of the Career and Arsc Guidance commiee as well as the New Music Advisory commiee.

A dedicated teacher, Ms. Ju is on the faculty of the University of Wisconsin-Madison. In addion to her dues as flute professor, Ms. Ju performs with the Wingra Woodwind Quintet and is the founder of the UW Arts Enterprise iniave, which provides career guidance and support for emerging arsts. Stephanie Ju is a founding member of the Cape Cod Flute Instute, now in its fourth summer in Woods Hole, Massachuses. She is principal flute of the Madison Symphony Orchestra and co-produces the three-week Bach Dancing and Dynamite Society chamber music fesval.

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John Surdyk Director - G. Steven Burrill Business Plan Compeon Associate Director - Iniave for Studies in Transformaonal Entrepreneurship University of Wisconsin-Madison

John Surdyk is the Director of the G. Steven Burrill Business Plan Compeon, the Associate Director of the Iniave for Studies in Transformaonal Entrepreneurship (INSITE) and the co-Program Director of the Entrepreneurial Residenal Learning Community at the University of Wisconsin, Madison.

Prior to joining INSITE, Surdyk founded and led Re-Envision Consulng, LLC, a firm working with nonprofits throughout the United States and Canada pursuing innovave, earned-income strategies where novel approaches to social problems and new technologies could be deployed for public benefit. He has a strong interest in social entrepreneurship. He has studied the environmental impact of entrepreneurship in emerging economies at World Bank – LATEN Division. Earlier in his career, Surdyk worked with the consulng arm of the Stanford Research Instute in Menlo Park as well as Navigant Consulng in Chicago (NYSE; NCI). He primarily worked with execuves and entrepreneurs at a mix of technology and life science companies developing strategic approaches to new markets and valuing damages in disputes.

He has authored several book chapters on corporate social responsibility, and he serves on the Finance/ Audit Commiee of the MCADB/Overture Center Foundaon, the board of a Madison-area technology company, and the City of Monona Community Development Authority tasked with economic recovery and blight eliminaon. He was a founding member of the Wisconsin Business Alumni Advisory Board. Surdyk did his undergraduate work at Stanford University in Earth Systems Science and Economics and earned an M.B.A. at University of Wisconsin–Madison.

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Appendix B: Support Faculty and Staff Diane Ragsdale Vising Arst in Residence & Instructor for Aesthecs in Business University of Wisconsin-Madison School of Business

Diane is currently aending Erasmus University in Roerdam (in the Netherlands), where she is researching the impact of economic forces on US nonprofit regional theaters since the 80’s and working towards a PhD in cultural economics. For the six years prior to moving to Europe, Diane worked in the Performing Arts program at The Andrew W. Mellon Foundaon, where she had primary responsibility for theater, dance, and technology-related strategies and grants. Before joining the Foundaon, Diane served as managing director of the contemporary performing arts center On the Boards (Seale, Washington) and execuve director of a desnaon music fesval in the resort town of Sandpoint, Idaho. Prior work also includes snts at the Sundance Film Fesval, the Seale Film Fesval, Peter Gabriel’s WOMAD USA, and Bumbershoot, Seale’s Arts Fesval. She has worked as a consultant for both nonprofits and for profits, as adjunct faculty at Boise State University (in the Department of Theater Arts), and, early in her career, as an actor, director and independent producer.

Diane is a frequent panelist, provocateur, or keynote speaker at arts conferences within and outside of the US (notable addresses include “Surviving the Culture Change” and “The Excellence Barrier”) and has contributed arcles to several publicaons, including “Recreang Fine Arts Instuons,” which was published in the fall 2009 issue of the Stanford Social Innovaon Review. She holds an MFA in Acng & Direcng from University of Missouri Kansas City and a BS in Psychology and BFA in Theater from Tulane University. In 2002, she aended the inaugural Execuve Program for Nonprofit Leaders at Stanford University’s Graduate School of Business (a program of Naonal Art

Kathie Nichols Guest Lecturer Forward Community Investments: Board Leadership Program Coordinator ABI Involvement: Non-Profit Board Leadership

Kathie has spent the majority of her career working with and for nonprofits. She is delighted to be working at FCI, and specifically, to be working with the UW/FCI Board Leadership Program. This unique and innovave partnership matches UW Business School grad students with various nonprofits in the community, helping the students to experience the rewards of nonprofit Board service as part of a graduate level course. This is a perfect fit for Kathie, as she spends much of her me serving on three nonprofit Boards herself! Kathie holds an MBA from George Washington University. When not doing nonprofit work, Kathie can most oen be found at the Overture Center enjoying theater and fine arts; at UW sporng events; or walking on the Isthmus with her young dog, Zander.

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Dennis Johnson Guest Lecturer Forward Community Investments: Vice President - Advisory Services ABI Involvement: Non-Profit Board Leadership

FCI's resident Ironman, Dennis Johnson, applies the wisdom he has gained from athlec compeon to his work at FCI: "Anything is possible with hard work, by playing to your strengths and in being determined." He carries these beliefs into his passion for working with clients. Dennis joined FCI in 2010, aer spending over twenty years in the financial services industry. He has significant experience in leadership development, engagement, individual and organizaonal learning, team building, communicaon techniques and inclusivity. Dennis is a professional coach and BoardSource Cerfied Governance Trainer and enjoys using his skills with nonprofit leaders to guide themselves and their organizaons to excellence.

Ben Williams Guest Lecturer Forward Community Investments: Director - Advisory Services ABI Involvement: Non-Profit Board Leadership

Ben Williams brings a passion for realizing on-the-ground change to his work at FCI. "During my volunteer me I have had the opportunity to work with community groups building or renovang houses and community centers. Being able to do the work with those that will be using the end product, and feeling how excited they are to see the work complete is wonderfully upliing," says Ben. Ben joined FCI aer spending several years in Chicago as a management consultant working on strategy, markeng and operaons management projects with a focus on organizaonal growth and change. If you don’t see Ben at his desk, just look up – he may literally be climbing the walls indulging his love for rock climbing.

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Appendix C: Arts Enterprise 2015 Syllabus

ARTS ENTERPRISE: Art as Business as Art MHR 365/765 | Art/Theatre/Dance/Music 469 artsenterprise.wisc.edu Spring 2015 | Wednesdays 2:25-5:25 pm | GRAINGER HALL, ROOM 1170

Instructor Project Assistant Sarah Marty Matt Dreier UW Continuing Studies MBA in Arts Administration ‘15 21 N Park Street, Rm 7330 Bolz Center, Rm 3335 Grainger

Overview

“Arts Enterprise: Art as Business as Art” will offer an overview and foundation for students interested in developing, launching, or advancing innovative enterprises in arts, culture, design, and humanities. Students from a variety of creative majors across campus will learn the unique contexts and challenges of creative careers. The course will help students understand the nature and structure of arts enterprise – for-profit, nonprofit and in between – while cultivating their own career vision and creative project goals.

The course is a weekly, three-hour class, presented over 15 weeks. Guest lectures by creative professionals and class discussions will ensure ongoing connections between theory and practice. The course is intended to align with the Wisconsin School of Business undergraduate and graduate Entrepreneurship Certificate for students who are interested in a more intensive focus on creative enterprise.

Course Objectives

This course seeks to help students gain knowledge and skills in the following domains: 1. Imagining or recognizing entrepreneurship opportunities in arts, culture or expression (projects, partnerships, initiatives, organizations, etc.); 2. Assessing those opportunities and developing them into project concepts; 3. Discovering, acquiring and aligning the key resources necessary for a concept’s success (time, money, space, equipment, talent); 4. Presenting a clear and compelling project plan in written and spoken form; 5. Evaluating a project’s outcomes in ways that foster learning and promote future success; 6. Creating a web-based professional portfolio with work samples.

All of the above depend upon two other learning goals for this course: 1. An improved ability to understand and continually learn about yourself (personal, creative, and goals, interests, preferences, talents, strengths, weaknesses, style, risk tolerance, etc.); 2. A broader understanding of arts entrepreneurship – its general context in society and its specific context in business – and the overlapping domains that comprise it.

Expectations Full student participation in this course is not only required as part of your grade, it is also essential for the success of the course for everyone around you. We expect every student to arrive on time to every session and to be actively engaged when in class. This means actively listening, sharing your own ideas and questions, participating in small group and full-class exercises and activities, and focusing on the lectures or visiting speakers.

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Course Materials Students will be expected to complete work, as assigned, prior to each class meeting. Late assignments will not be accepted. If you are going to miss a class for any reason, you are still expected to turn in the homework by the date/ time it was due. There is no extra credit.

Electronic Device Policy To ensure the class-wide focus on the conversation in the room, we will not allow the student use of electronic devices during class time – computers, phones, tablets and the like. We recognize that this may be an inconvenience for students who prefer to take notes on such devices, but we need everyone’s attention and connection in the room. This policy will be suspended during breaks and individual/group project time, as announced by the faculty.

Academic Honesty Plagiarism (presenting someone else’s words or ideas without giving credit) will not be tolerated, and it may be grounds for expulsion from the course. At a minimum, if a student is caught plagiarizing, he or she will receive a zero for the assignment and will be prosecuted to the fullest extent possible under University regulations. If you are unclear as to what constitutes plagiarism, you should consult the University of Wisconsin’s Code of Conduct and the UW Writing Center. When in doubt, always cite your source.

Contested Grades – If you believe your grade is inaccurate, you must wait at least 48 hours before contesting it. If you wish to contest a grade, you will need to write a letter explaining why you believe a mistake was made in grading your assignment. After I have received and read the letter, we will schedule an appointment to discuss the matter; however, if you ask for a paper/project to be reevaluated, I reserve the right to reevaluate the entire contents of the paper/project, and your grade can go up or go down as a result. Whenever possible, I encourage you to ask questions and clarifications about course assignments before turning them in.

Grading & Assignments (100 points total) Attendance (15 points) Students are expected to attend every class session, in full, for the entire three-hour period. We only meet 15 times during the semester so it is imperative that you attend all class periods. If you have a midterm for another class scheduled during Arts Enterprise, please speak to the professor for that course ASAP about scheduling an alternative exam time for that course. If you miss class more than twice, your final will automatically be lowered by one letter grade.

Participation (10 points) Class is part lecture, part discussion of readings and videos assigned for the week, and part group activities.

Class Projects For the three class projects, a portion of the grade will be linked to the presence of required elements, while additional credit will be earned based on the student’s overall performance for each project.

Project 1: Organizational Profile (10 points) Each student will complete an organizational profile of a creative organization, entity or festival in the great Madison area, as assigned by the instructor. Students will be provided with an outline for the assignment. A hard copy of Project 1 is due at the start of class on February 4.

Project 2: Enterprise Proposal (25 points) Each student will prepare an Enterprise Proposal that will identify and describe your creative venture idea, its goals, market, budget and promotional strategy. On February 18, a written one page Project 2 project pitch is due. Two copies of the final Enterprise Proposal are due March 25. Students will give a 5-minute verbal summary of their work in class later in the semester.

Project 3: Professional Portfolio (25 points) Each student will develop a web-based portfolio appropriate for his or her discipline and goals. A detailed description of this project and its process will be provided as a separate document. 100 word Bio and Resume due February 4. Online Portfolio due April 22.

Assignments (15 points) Each week following class you’ll receive an email with the assignments for the following week – Ted Talks, information on guest speakers, videos, and additional readings will be included in the weekly email. Ted Talk assignments are due by noon on the Monday before class. Response papers should be one page (500 words) with one-inch margins in Times New Roman font. Response papers should be turned in as a hard copy (1 copy) at the beginning of class.

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Appendix D: Nonprofit Board Leadership Syllabus

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Appendix E: Aesthecs in Business Syllabus AESTHETICS & BUSINESS MHR 365 Approaching Beauty: Developing a Personal Aesthec (and Why It Maers in Business & Life)

Coordinator & Lecturer: Diane Ragsdale, Erasmus University (Roerdam) Vising Guest Arst/Lecturer UW-Madison – Spring Term 2015

Office Hours Lecturer: By appointment on Tuesdays or Thursdays

Teaching Assistant: Elise Johnson Crone: Always available at the Bolz Center two hours before class on Tuesdays and one hour aerwards for quesons, etc.

Office locaon (both): Bolz Center, Grainger #3340

Special Guest Lecturer: Polly Carl, PhD. Emerson College (Boston)

Texts: Most of the literature for this class consists of small essays or passages from books and will be made available to students electronically. Students are asked to purchase two texts (below). We will read all of the Elaine Scarry monograph for class on March 17 and we will read about 55 pages (1/3) of the Claudia Rankine text for a class in April. Both are beauful books and worth having in hard copy (though you are also welcome to purchase digital versions). Addionally, aer reading the Elaine Scarry book you may want to read the novel “On Beauty” by Zadie Smith (which was inspired by Scarry’s text). This is oponal.

1. Elaine Scarry, “On Beauty and Being Just” (1999) – REQUIRED March 17 2. Claudia Rankine, “Cizen: An American Lyric” (2014) – REQUIRED April 7 3. Zadie Smith, “On Beauty” (2005) – OPTIONAL for March 17

Class Schedule/locaon: Tuesdays 10 Feb-5 May, 2015 4:00-7:00 GRAINGER HALL #2120 unless otherwise noted Please note: We would like to end a few class sessions at 8pm to accommodate experiences/workshops.

Class Format: The general format for each class will be a combinaon of seminar discussion and experienal acvity, with some excepons. The ancipated schedule is outlined on the pages that follow. It is subject to revision due to the fact that the course depends upon (a) presentaons, workshops and provocaons by guest arsts (whose schedules are subject to change, and who may bring in readings or exercises that have not yet been finalized) and (b) having experiences, all of which could not be set in advance of the class. Students will be nofied in advance of any proposed changes or addions to the syllabus. Most classes will have one 15-minute break midway through the period.

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Advance Survey: In the week prior to the first class, students will be emailed an electronic survey. This survey should be filled out and returned not later than Friday, February 7th at Noon.

Porolio Assignments: This course will provide the tools, concepts, methods, encouragement and opportunity for students to begin to aend to their own aesthec development through the creaon of a porolio. More informaon on this will be given at the first lecture. Students will be assigned 1-2 porolio assignments per week. Some of these assignments will ask students to reflect on past experiences; while others will require them to seek out new arts (or other aesthec) experiences. For instance, students may be asked to watch a parcular film, or visit a museum on their own, spend me with a piece of music, or spend me in a parcular environment. Such experiences will form a basis of the porolio. Students are expected to email their completed weekly assignments to Diane Ragsdale not later than 9am each Monday (prior to the Tuesday class). Generally at the start or end of each class students will discuss their weekly porolio assignments in small groups, one-on-one, or with the enre group. These sessions will generally be led by Ragsdale.

Video Presentaons: At the end of the term, students will prepare a video collage (5-7 minutes) introducing/reflecng upon their porolios and the themes in the class. More informaon on this assignment will be given in class.

Final Essay: At the end of the term, students will be asked to reflect upon the knowledge gained in the course in a final essay. The final essay queson/prompt will be assigned not later than April 29th.

Grading: Grades are based on: preparaon, aendance and parcipaon in class/ required acvies (25%); final reflecon (10%); compleon of weekly porolio assignments and related acvies (40%); and video collages (25%).

Course Philosophy. Aims & Methods:

Approaching Beauty (a/k/a aesthecs and business) aims to give business students the tools and encouragement to culvate an aesthec sensibility. This is neither an arts appreciaon course nor a philosophy course. This is a praccal course that takes as a foundaonal precept that art is integrally linked to the experience of things and of life itself.1 It will combine discussions on the nature and funcon of beauty in today’s society (led by a range of scholars and arsts); curated and self-directed aesthec experiences; and the mulmedia documentaon of these experiences in a porolio.

Howard Gardner defines beauty as the property of experiences and asserts that “to be deemed beauful an experience must exhibit three characteriscs. It must be interesng enough to behold, it must have a form that is memorable, and it must invite revising.”2 Gardner suggests that two educaonal implicaons follow from this asseron: (1) students should be encouraged to keep a porolio of their experiences of beauty, aimed at tracing how those experiences have evolved over me; and (2) students should be encouraged to reflect upon the

1 Dewey, J. (1934). Art as Experience. New York: Penguin Group/Berkeley Publishing

2 Gardner 2011, p. xi.

! ABI Program Summary & Materials 43 palpable reasons, or factors, that have lead them to consider one experience to be beauful and another not.3 Though Gardner is not specific about the form of such a porolio, for the purposes of this class we are conceptualizing it as a mulmedia (visual, auditory, and wrien) catalogue. Students will ask and answer (in their porolios) in relaonship to a variety of provocaons and experiences a range of quesons, including: Is it beauful? Is it not beauful? Why? On what basis am I forming this judgment? Students will also share their porolio entries with each other and reflect upon where their ideas about beauty converge and diverge, and why.

Porolio assignments will be aimed at giving students “bigger-than-me experiences”—to use the phrase coined by Sociologist Steven J. Tepper in a recent essay in the Chronicle of Higher Educaon. Tepper (2014) asserts that we are living in a period in which instuons of learning need to provide courses that help students “realize that authenc growth comes as much from escaping as from discovering the self.”4 Tepper makes a link between the rise in cultural acvity focused on personal expression (what he calls me experiences) and several studies that indicate that empathy, compassion, moral reasoning and tolerance may be declining; ulmately, he makes a case that what is needed (both in the culture-at-large and at universies) is fewer me experiences and more bigger- than-me experiences. He disnguishes the two, wring:

"Me experiences" are different from "bigger-than-me experiences." Me experiences are about voice; they help students express themselves. The underlying queson they begin with is, "What do I have to say?" BTM experiences are about insight; they start with, "What don’t I know?" Voice comes aer reflecon. Me experiences are about jumping into a project and making something— an idea, an arfact, a piece of media. BTM focuses on John Dewey’s noon of "undergoing"— making something happen in the world, which requires, first, a shi in our own subjecvity. We must ancipate problems, struggle with ideas, seek some resoluon. It’s a process.

Fundamental assumpons of this class are that art teaches us to see what me might otherwise (choose to) not see; art confronts or holds together things that are inherently in tension, it embodies paradox and ambivalence, and it resists easy resoluon; and the beauful (in art and life) arises out of struggle. Because it is being offered through a business school, this iteraon of the course is designed to bridge the aesthec and business worldviews. It starts from a first principle that there is great value (for future business managers/leaders, in parcular) in having the capacity to approach the world, or respond to it, aesthecally. Scholar of corporate finance, business economics, and economic philosophy John Dobson (2007) argues that we are living in an aesthecs business era in which corporaons increasingly need to recognize the importance of such things as “harmony, balance, sustainability, aesthec excellence, judgment, context, compassion, community, beauty, and art.”5 Dobson suggests that aesthec judgment is needed in business leaders, in parcular, because they face the connual challenge of disnguishing between excellence and its material by-product, material wealth.6 Likewise, scholar of management and corporate responsibility, Sandra Waddock (2010) asserts that there are four leadership capacies that can be developed through the culvaon of an aesthec sensibility (what she also characterizes as “beer seeing”):

• An intuive grasp of the non-raonal or observable elements of situaons and decisions; • Creavity in imagining soluons or future acon; • Understanding of relaonships among elements in a system in a ‘design’ sense; and

3 Ibid, p. xii.

4 Tepper, S. (2014). Thinking ‘Bigger Than Me’ in the Liberal Arts. The Chronicle of Higher Educaon, 9/15/2014. Available at hp://chronicle.com/arcle/Thinking-Bigger-Than-Me-in/148739/.

5 Dobson 2007, p. 46.

6 Ibid, p. 45.

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• The capacity for balancing conflicng elements with the greater good in mind.7 And in a similar vein, organizaonal behavior scholar Nancy Adler (2011) proposes that both “great leaders and great arsts” demonstrate courage in three ways: (1) the fortude and capacity to “see reality as it is”; (2) the daring to imagine new (beauful) possibilies; and (3) the convicon to inspire others to shi their sights from current reality to imagining what is possible.8 While there is a wide range of literature that has informed the development of this course, it builds in parcular on Gardner’s construct of the Beauty Porolio; Tepper’s concept of “bigger-than-me experiences,” Waddock’s premise that aesthec experiences can help leaders culvate a different way of “seeing,” and Adler’s vision of “a leadership based more on hope, aspiraon, innovaon and beauty than on replicaon of historical paerns of constrained pragmasm.”9 It also takes as a philosophical premise (following Dobson 2007) that there is a fundamental link between economics, ethics, aesthecs, and quality of life.

AESTHETICS & BUSINESS – COURSE CALENDAR MHR 365 ⏐ Spring Semester – 2015 (version 1/26/15)

COURSE GUIDE – INCLUDING ASSIGNMENTS - SUBJECT TO CHANGE.

IF LINKS ARE NOT PROVIDED BELOW LITERATURE WILL BE DISTRIBUTED AT LEAST ONE WEEK IN ADVANCE.

PORTFOLIO ASSIGNMENTS (DUE EACH MON. AT 9AM) WILL BE DISTRIBUTED DURING CLASS EACH WEEK.

DATE Format & Guests FEB 10 Introducon to Approaching Beauty # 1 − Special Guest: Norma Saldivar, MFA. Director of the Graduate Direcng Program at the UW Dept. of Theatre & Drama; Director of the Arts Instute; Freelance Director. Professor Saldivar will discuss the concept of porolio.

PLEASE VIEW/READ THE FOLLOWING IN ADVANCE OF CLASS:

− The Big Queson: Does Your Company Need an Arst? (2014 panel discussion on the role arsts can play in inspiring corporate creavity). hp://www.chicagobooth.edu/capideas/video/2014/big-queson-does-your- company-need-an-arst?cat=business&src=Video − Video & Interview Transcript (Richard Heffner and Howard Gardner). Richard Heffner’s Open Mind. Air date: 2 July 2011. hp://www.thirteen.org/openmind/media/howard-gardner-on-truth-beauty-and-goodness/2310/ − Winterson, J. (2002) The Secret Life of Us.

OPTIONAL – if you want to go deeper into Gardner’s ideas about beauty: − Gardner, H. (2011). Truth, Beauty, and Goodness Reframed. Chapter 3—“Beauty,” 39-76. (to be distributed)

7 Waddock 2014, p. 140.

8 Adler 2011, p. 210

9 Ibid, p. 208

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FEB 17 Class Theme: Approaching Art # 2 − Special Guest: Carol Hay, former business execuve with naonal responsibilies at Mael and American Girl, board member for American Girl's Fund for Children, and long-me docent at MMoCA who specializes in adult audiences. Ms. Hay will give a presentaon on approaching art in ancipaon of visit to the museum.

− Special Guest: Tara Ausn, visual arst/graduate student (UW-Madison) who will lead students in a drawing exercise.

PLEASE VIEW THE FOLLOWING IN ADVANCE OF CLASS: − Michael Kimmelman on Art, Part 1 (~6 minutes) - hps://www.youtube.com/watch?v=m8-9q9Okkn8 − Michael Kimmelman on Art, Part 2 (~6 minutes)- hps://www.youtube.com/watch?v=i8KA2IT8eSo − What is art for? Alain de Boon’s animated guide (~6 minutes) hp://www.theguardian.com/artanddesign/ video/2014/sep/10/what-is-art-for-alain-de-boon-guide-video − Art as Therapy. A lecture from the School of Life by Alain de Boon (~45 minutes) hp://alaindeboon.com/ art/watch/

FEB 24 CURATED EXPERIENCE: MADISON MUSEUM OF CONTEMPORARY ART # 3 Students should meet at MMoCA, rather than at the classroom, at the normal class me.

PLEASE READ/VIEW THE FOLLOWING IN ADVANCE OF CLASS: − La Rocco, C. (2011). Some thoughts, possibly related, on me, cricism, and the nature of consciousness. − E.M. Forester (1949). Art for Art’s Sake (to be distributed) − Materials from MMoCA (to be distributed)

MAR 3 ARTIST PRESENTATION & DISCUSSION: LAURA ANDERSON BARBATO # 4 − Mexican arst (and vising guest arst at UW Spring term 2015) Laura Anderson Barbato will introduce her work and three projects in parcular: Intervenon Wall Street; her Julia Pastrana project (on the ugliest woman in the world); and STRUT (a project at UW-Madison).

MAR 10 Class Theme: On Beauty & Being Lost # 5 − Special Guest: Polly Carl, PhD, Creave Director, Arts Emerson; Director and Editor, HowlRound; Lecturer, Emerson College; Independent Dramaturg who will introduce students to the ideas of Rebecca Solnit from her book A Field Guide to Geng Lost.

− Special Guest: Lynee D’Amico, MFA, who will lead students in a wring exercise.

PLEASE READ THE FOLLOWING IN ADVANCE OF CLASS: − Solnit, R. Chapters 1 & 2 in A Field Guide to Geng Lost. Please purchase book.

Class Theme: On Beauty & Being Just MAR 17 − Special Guest: Polly Carl, PhD, Creave Director, Arts Emerson; Director and Editor, HowlRound; Lecturer, # 6 Emerson College; Independent Dramaturg who will lead a discussion on Scarry’s monograph. − Special Guest: Lynee D’Amico, MFA, who will respond to work from the previous week.

PLEASE READ THE FOLLOWING IN ADVANCE OF CLASS: − Scarry, E. (1999) On Beauty and Being Just (to be purchased by students)

In addion, you may wish to read the Zadie Smith novel On Beauty (2005), which was inspired by Elaine Scarry’s monograph On Beauty and Being Just. Carl will briefly discuss Smith’s novel as part of her lecture.

MAR 24 Class Theme: On Designing Beauful Intervenons # 7 − Special Guest: Michael Rohd, arsc director of Sojourn Theater and founder of the Center for Civic Pracce and Dialogue.

MAR 31 NO CLASS – SPRING BREAK!

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APR 7 Class Theme: On Beauty in a Democrac Society # 8 − Special Guest: Paul Sacaridiz, UW-Madison Art Department Chair, Associate Professor, Arsts (Ceramics)

PLEASE READ THE FOLLOWING IN ADVANCE OF CLASS: − Rankine, C. (2014) Cizen: An American Lyric (Secons I, II, III). Please purchase book.

APR 14 Class Theme: On Taste and Beauty as a We Proposion # 9 − Special Guest: Polly Carl, PhD, Creave Director, Arts Emerson; Director and Editor, HowlRound; Lecturer, Emerson College; Independent Dramaturg − Special Guest: Fred Stonehouse

PLEASE READ THE FOLLOWING IN ADVANCE OF CLASS: − Wilson, C. (2007) Let’s Talk About Love: A Journey to the End of Taste (selecon to be distributed) − Shirky, C. (2009) Here Comes Everybody (chapters 2 & 3 to be distributed)

APR 21 ARTIST PRESENTATION & EXERCISE: # 10 − Special Guest: Sound Arst Mad Genius to talk about his work and the topics of beauty, taste & aesthecs in sound and assign exercise. − Special Guest: Josh Berkson, Owner of the restaurant, Merchant, to talk about his business and beauty, taste & aesthecs in the food

APR 25 POSSIBLE EXTRA SATURDAY WORKSHOP RELATED TO SPECIAL EVENT ON MAY 2ND - TBD

APR 28 Class Theme: On The Aesthec Manager # 11 − Special Guest: Sound Arst Mad Genius to do follow up exercise with students.

PLEASE READ THE FOLLOWING IN ADVANCE OF CLASS: − Dobson, J. (1999) The Art of Management & The Aesthec Manager (selecon TBD) − Wallace, D.F. This is Water (commencement address) − Possible addional short reading TBA

MAY 2 SATURDAY AFTERNOON – POSSIBLE PARTICIPATION IN SPECIAL EVENT TBD

MAY 5 FINAL PRESENTATION OF PORTFOLIOS IN PROGRESS (IN THE FORM OF A VIDEO COLLAGE) # 12 − MORE INFORMATION TBA − THIS CLASS WILL GO UNTIL 8PM TO ACCOMMODATE ALL PRESENTATIONS & LEAVE TIME FOR EATING

MAY 11 FINAL REFLECTIONS DUE (ELECTRONICALLY) In a final brief essay (800-1,000 words) students will reflect on an assigned theme or queson. The final reflecon queson/prompt will be assigned not later than April 29th.

TEXTS:

− Dobson, J. (1999). The Art of Management and the Aesthec Manager ( Westport: Quorum Books) − Forester, E.M. (1949, August 1). Art for Art’s Sake. Harper’s Magazine − Gardner, H. (2011). Truth, Beauty, and Goodness Reframed (New York: Basic Books). − Kimmelman, M. (2005). The Accidental Masterpiece: On the Art of Life and Vice Versa (New York: The Penguin Press).

− LaRocco, C. (2011, April 5). Some thoughts, possibly related, on me, cricism, and the nature of consciousness. A lecture for Brooklyn Rail.

− Rankine, C. (2014). Cizen: An American Lyric (Minneapolis: Graywolf Press). − Scarry, E. (1999) On Beauty and Being Just (Princeton: Princeton University Press). − Sharpe, B. (2010). Economies of Life: Paerns of Health and Wealth (Devon: Triarchy Press Ltd).

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− Shirky, C. (2009). Here Comes Everybody. (New York: The Penguin Group). − Smith, Z. (2006). On Beauty. (New York: The Penguin Group). − Solnit, R. (2005). A Field Guide to Geng Lost. (New York: The Penguin Group) − Wallace, D.F. (2005). This is Water. Commencement Speech to Kenyon College class of 2005. − Wilson, C. (2014). Let’s Talk About Love: A Journey to the End of Taste (New York: Connuum Internaonal Publishing Group).

− Winterson, J. (2002, November 25). The Secret Life of Us. The Guardian. COURSE POLICIES ATTENDANCE: Sharing experiences, life lessons and personal opinions in class discussion will help us make relevant connections with real world experience, allowing us to apply the knowledge we glean from the text and other sources. Aendance and parcipating throughout each week are essenal to academic success. To complete all weekly readings and assignments plan to spend a minimum of 4-5 hours a week. The porolio assignments require you to take me to thoughully consider the queson, immerse yourself in the assignment, and then document and reflect upon it. The videos and readings are generally brief (with a couple excepons). Contribung to class discussions and assisng each other with applicaons will expand our thinking and facilitate higher-level learning. Experience shows students who acvely and regularly parcipate in discussions assimilate learning and perform well on exams. Staying on top of the material and spending the time to apply the concepts are essenal to success. We encourage parcipaon and questions at any time. The goal is to know the material, as this is preparation for future consulting roles (either as provider or recipient). We encourage you to stay current, because once you fall behind it is difficult to catch up. Also, since the material is cumulave in nature, your overall course comprehension and academic success may be negavely affected if you fall too far behind. LATE POLICY: Prompt submission of assignments for assessment allows the course team to provide guidance and timely feedback. Due dates for each class are published in the course syllabus and discussed at the end of each class. Please pay close attention to these weekly deadlines. EXCUSED MAKEUP WORK: If a late submission has been requested and approved in advance of the due date, there will be no deduction of points from the assignment grade. Send an e-mail to [email protected] or Diane Ragsdale (email TBA) to request an extension and to discuss an alternate due date. UNEXCUSED MAKEUP WORK: If a request for an extension has not been submitted prior to the assignment due date, the late assignment will be considered unexcused. Assignments not submied on time will result in a 10% deducon per day and those not completed within a week will result in no credit with a score of zero entered as the assignment grade. EMERGENCY POLICY: Emergencies arise, and the late policy can be waived at the instructor's discreon in case of an emergency. Emergencies are defined as events which are serious and unexpected. Emergencies cannot be written on the calendar in advance. Examples of emergencies are: heart attacks, car accidents, serious health crises of the student or someone in the student's immediate family. Examples of non-emergencies include family weddings, vacaons, conferences or any other event which is known in advance. Students are encouraged to work ahead when necessary if there are planned family events or travel. Students should contact the instructor to make arrangements to work ahead or to request a waiver of the course late policy.

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Appendix F: Arts Business Research Symposium Additional Materials

Wednesday, March 12 Madison Public Library, Central branch 5:30pm-8:30pm: Welcome, Overview, Keynote Address and Reception

6:30 pm Keynote: Erica Halverson, UW-Madison Department of Curriculum and Instruction Discussion of the Maker Movement in Education: Teaching and Learning Spaces at the Intersection of Architecture, Engineering, and Creativity

Erica Halverson will kick off our conference with a discussion on the Maker Movement and its emerging role in the arts, education, and business landscapes. Through a grant from the National Science Foundation, Dr. Halverson has been studying what and how people learn in makerspaces - communities of practice that live at the intersection of art-making, engineering, and entrepreneurship. Her talk will include a chance for attendees to co-participate in a maker experience at Madison Public Library's new makerspace, the Bubbler.

Thursday, March 13 Grainger Hall Plenary Room, Wisconsin School of Business 9-10am: Welcome, Preview of the Symposium & Keynote Address

Intro: Sherry Wagner-Henry, Director of the UW-Madison Bolz Center for Arts Administration

Keynote: Linda Essig, Director of the PAVE program, Arizona State University; Editor, Artivate Linda Essig, Professor and Director of Arizona State University's arts entrepreneurship program PAVE, will frame the conference with remarks on the framework of the emerging ield of arts entrepreneurship. Where is this ield of inquiry? What do we know about the relationship between arts and business? How can we move a ield forward that takes seriously what both disciplines can contribute to our understanding of the arts, entrepreneurship, and research?

10-11:30am: Session #1: Creative Campus Environments

Panel: Creative Campus Environments Sonia BasSheva Manjon, Ohio State University Elizabeth Long Lingo, formerly Curb Center, Creative Campus Initiative at Vanderbilt University Linda Essig, PAVE Center, Arizona State University John Surdyk, INSITE and Weinert Center for Entrepreneurship, UW-Madison

Many institutions of higher education are talking about the importance of bringing creativity meaningfully to their campuses. With the popularization of alternative models for higher ed, campuses are highlighting their value-added through a focus on campus resources and the development of the creative campus. What do we mean by "the creative campus"? What are some emerging models for creative campuses and what are the implications for students, faculty, and staff? Four leaders in the development of creative campuses across the US will lead our inquiry into the role of the creative campus in the 21st Century higher education landscape.

11:30am-12:30pm: Student Presentations and/or Responses

12:30-1:30pm: Lunch in Grainger Hall (provided)

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Thursday, March 13 continued Grainger Hall Plenary Room, Wisconsin School of Business 1:30-3pm: Session #2: Collaborative Work Organizations Panel: Collaborative Work Organizations Sam Dyson, Director HIVE Chicago Learning Network David Flatley, Executive Director of Columbia College Chicago’s Center for Community Arts Partnerships Thaddeus Squire, Executive Director at CultureWorks, Philadelphia Noah Keesecker, Director of Artist Development, Springboard for the Arts, Saint Paul, MN

Whether non-proit or for proit, arts organizations are inding ways to collaborate in order to develop work practices that make their organizations more sustainable. What do we know about these various models for collaboration? How do they work? What can we learn that might scale to other arts organizations? What can other businesses learn from the way arts organizations collaborate around practice? We will hear from the Directors of four arts-business initiatives that take different approaches to collaborative work in and through the arts.

3-4pm: Student Presentations and/or Responses 4-4:30pm: Wrap Up & Preview of Coming Activities 6:00pm: Dinner on your own List of restaurants and arts/cultural activities provided Friday, March 14 Education Building, UW-Madison School of Education 9am: Welcome and Preview of the Day 9-10:30am: Session #3: New Funding Models

Panel: New Funding Models Tom Linield, Madison Community Foundation Anurag Gupta, Research Scholar in Law & Social Entrepreneurship, Jacobson Leadership Program in Law & Business at NYU Thaddeus Squire, Executive Director at CultureWorks, Philadelphia, Pennsylvania Heather Pontonio, Program Ofice for the Arts, Emily Hall Tremaine Foundation, New Haven, CT

The iscal landscape of the past decade has forced artists, arts organizations, and arts businesses to become much more creative in the way work and organizations are funded and capitalized. New funding models from crowd-sourced funding to the development of community foundations have begun to transform how organizations budget, fundraise, and frame their work. This session will focus on current research and practice around new funding models for arts-integrated work.

10:30-11:30am: Student Presentations & Responses 11:30-12 noon: Wrap Up Conversation Noon-1pm: Gallery Walk/Conversations/ Arts Venture Challenge Presentations/Tables

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Appendix G: NAVC Addional Materials New Arts Venture Challenge Announcement

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Submission Guidelines A venture plan that includes: • Execuve Summary This is an overview of your project, in 750 words or less. Say what you want to do, the general me frame for your project, whom you will be working with, why you think it’s important, how you’re going to get the word out, and what kind of impact it will have on the university and/or community. • Event or Exhibion Plan Please include any of the following: • What is the actual producon plan? • What facilies or city agencies might be involved? • Who do you need to partner with to make your project happen? • What kind of equipment do you need and how will you get it? • What are your current resources and opportunies? • How will you integrate these elements into your project? • Audience Analysis Who is going to your event and why will they come? • Why do you think that there is there a need for it (even if you are invenng the need)? • Timeline for your project, including planning and implementaon Have you started your project already? What’s happened so far? • Depending on the length of your project, provide a monthly plan from the start of the project to the compleon of the project. • Key Personnel (just the key people on YOUR team, up to three total people) – include bios or CV’s of all key personnel • Only the LEAD person on the project has to be a full-me UW-Madison student • Assisng arsts do not have to be named and numbers of those assisng arsts (like orchestra or cast members) numbers of personnel and their jobs • Financial Plan/Budget (List income, expenses, and explanaon – no spread sheets necessary) Are you paying people? How much? • Are you renng space? How much does it cost? How many alternaves do you have? • How much income do you expect to have and how will you get it? • Are you applying for other grants? • What are cket prices, if any? • How about in-kind donaons? A lot of arts events are created through great in-kind donaons. • Markeng: • How do you plan to reach your audience and what innovave, cheap, effecve (i.e. free) tools can you use to reach your audience? Will you be taking out any ad space? Will you be prinng flyers or anything else? Is postage involved? Bulk mail? Email newsleers, social media, etc? • Troubleshoong: • What are your challenges now and what do you foresee your challenges will be over the course of the project? • Recent Work Sample: • DVD, CD, Porolio, etc.

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Applicaons (excluding aachments) should not exceed 6 pages, with a minimum point size of 10. Please feel free to use our NAVC Proposal Submission Template. You may also refer to this 2014 sample proposal. All applicaons for 2015 will be submied online only.

Eligibility • The contest is open to all students who are enrolled full-me in a UW–Madison degree program and are in good academic standing. • Entries can be by individuals or teams of up to three members (supporng team members are not required to be full-me UW-Madison students) • Proposals must be of original work. • Proposals will be returned to all entrants with comments and suggesons from the judges. • The winning proposal’s event/exhibion/project must be presented to the community no later than May 1, 2015.

Judging • Judges will be selected from prominent members of the professional arts and business community. • The UW–Madison New Arts Venture Challenge reserves the right not to select a winner. • More than one second prize may be awarded. • Entrants are encouraged to seek advice from UW–Madison faculty and staff.

Four independent judges will review the proposals and choose four finalists. They will aend the compeon finals and chose the first and second prize winning proposals.

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