Since 1957 the Association of College and University Concert Managers has been collecting information and keeping informal records on activities of its member institutions. In 1965 it sponsored the first Profile Survey of its membership, with data collected and processed at the University of Wisconsin, Madison. This was followed in 1967 with a second Profile survey, done at the California Institute of Technology. With experience gained through these two surveys, we have endeavored with our third Profile Survey to structure questions so that data are not only more readily available but can be

The articles that comprise this issue illustrate how much more sophisticated academic research in arts management has become, blending economics and other business theories with artistic ideas to draw conclusions that readers can apply to management of arts centers, museums, and performance houses.

With the economy and arts funding as they are in the at the moment, the survival of dance in all forms is dependant on passionate supporters of the art form. In addition to taking classes, individuals can offer support to the dance community in these ways: donate their time to a company's administrative offices; usher at a theater; start a dance program in their school or a festival ﾝeven if it is just for their friends or in their neighborhood.

Participants provided data about their curricular theatre programs; play production activities; student and parental involvement; faculty demographics, training, and employment conditions; performance facilities; production resources and new technology used; and program finances. Teachers and administrators detailed their views on the purposes,roles, and values of educational theatre and drama. Questions probed the types of social issues that theatre educators explored with their students through coursework and production experiences, and discussed the challenges that can arise when engaged

The arts are fundamental to our humanity. They ennoble and inspire us—fostering creativity, goodness, and beauty. The arts bring us joy, help us express our values, and build bridges between cultures. The arts are also a fundamental component of a healthy community—strengthening them socially, educationally, and economically—benefits that persist even in difficult social and economic times.

Local arts agencies—arts councils, arts commissions, cultural affairs departments—are an essential tool for community leaders as they rebuild their economies and promote social cohesion. The nation’s 4,500 local arts agencies (LAAs) support, present, and promote the dynamic value of the arts. Through their partnerships and leadership, LAAs are building healthier communities through the arts.

Since it was founded in 1979, Perseverance Theatre in Juneau has been committed to exploring classic plays and new works through a unique “Alaskan lens.” For their Animating Democracy project, Perseverance began a statewide dialogue about some of Alaska’s most divisive cultural, political, and social issues, using an Alaskan adaptation of Herman Melville’s classic work, Moby Dick, as the artistic catalyst. How could theater effectively contribute to discourse about Alaskan issues of subsistence rights and the urban/rural divide in disparate places across the state?

In 2003, the world premiere of Nuevo California at the San Diego REPertory Theater marked the culmination of an intensive, three-year project that brought together citizens on both sides of the U.S./Mexico border in an effort to imagine their region’s binational future. The International Border Fence, a 14-mile metal wall that divides San Diego and neighboring city Tijuana, served as the project’s springboard for both a cross-border dialogue on critical regional issues as well as the new play’s theme. San Diego REPertory Theater—together with project partners San

In its Faith-Based Theater Cycle, Cornerstone Theater Company created original, community-based plays in collaboration with specific faith-based institutions and inter-faith communities to explore how faith both unites and divides American society. The project provided an opportunity for Cornerstone—in partnership with the National Conference for Community and Justice, Los Angeles region—to engage multiple communities around this powerful and often challenging theme, as well as to work in depth, over time, and with cumulative impact. The four and a half year Cycle includes

Dell’ Arte International conceived The Dentalium Project in 2001, when the Blue Lake Rancheria—a sovereign native nation that abuts the small northern California town of Blue Lake—built a casino to secure its financial future. Although the Rancheria pledged significant support to the surrounding community, many Blue Lake residents took a dim view of the proposed casino, fearing an increase in traffic, crime, and noise—and, most critically, a loss of power and control over their own destiny. Dell’ Arte believed that, through its distinct aesthetic and by giving