Tag: Meadows School of the Arts

Six new cities added to the Top 20 lists of arts-vibrant cities in the U.S. — data-driven assessment ranks cities by arts and cultural assets

Post author By Margaret Allen
Post date March 29, 2016

SMU’s National Center for Arts Research (NCAR) releases Second Annual Arts Vibrancy Index

Double click to open and explore interactive heat map.

SMU’s National Center for Arts Research (NCAR) today released its second annual Arts Vibrancy Index, which ranks more than 900 communities across the country, examining the level of supply, demand, and government support for the arts in each city. This year, the report features six new communities, with three states – Hawaii, Oregon and Texas – appearing in the index for the first time. The new cities featured on the lists are Portland, Oregon; Austin, Texas; and Kansas City, Missouri, in the top 20 large cities list; and Maui, Hawaii; St. Cloud, Minnesota; and Medford, Oregon, in the top 20 small and medium cities list. NCAR provides rank scores on all measures for every U.S. county on its interactive heat map.

“Each community in the report has a unique story and cultural landscape – this report is designed to help us understand what makes a city vibrant in the arts and the different elements that come into play to foster that vibrancy,” said Zannie Giraud Voss director of NCAR, and chair and professor of arts management and arts entrepreneurship in SMU’s Meadows School of the Arts and Cox School of Business. “The data helps illustrate how vibrancy varies between cities and what arts vibrancy looks like for different communities around the nation.”

The overall index is composed of three dimensions. Supply is assessed by the total number of arts providers in the community, including the number of arts organizations, independent artists, and arts, culture, and entertainment employees. Demand is gauged by the total nonprofit arts dollars in the community, including program revenue, contributed revenue, total expenses, and total compensation. Lastly, the level of government support is based on state arts dollars and grants and federal arts dollars and grants.

Geographically, the rankings utilize Micro- and Metropolitan Statistical Areas (MSAs), which are delineated geographic areas consisting of one or more counties that have high social and economic integration with an urban core as defined by the Office of Management and Budget (OMB). By focusing on MSAs, the index captures the network of suburbs that rise up around a city or town rather than considering each separately. Where the OMB breaks down very large MSAs into Metropolitan Divisions, this report does, too.

Among cities with populations of 1 million or more, the five most vibrant arts communities are as follows:

Washington-Arlington-Alexandria, DC-VA-MD-WV
Nashville-Davidson-Murfreesboro-Franklin, TN
New York-Jersey City-White Plains, NY-NJ
San Francisco-Redwood City-South San Francisco, CA
Los Angeles-Long Beach-Glendale, CA

Portland, Oregon; Austin, Texas; and Kansas City, Missouri joined the top 20 list this year, ranked 17, 18, and 19, respectively. Compared to 2015, there was little movement between the highest-ranking cities in both the larger and smaller markets, and the top three cities remain the same as last year, with some repositioning between them. In the top five rankings among large cities, the biggest mover was Los Angeles, which moved up to fifth place from its position in ninth place last year; San Francisco moved up to fourth place (from fifth); and Boston dropped down two positions to sixth place.

For medium and small cities, with populations under 1 million, the top five cities are all in the West. Jackson, Wyoming, which ranked third in last year’s index, has moved to the top of the list from its former position in third place, causing Glenwood Springs, Colorado, and Santa Fe, New Mexico, to drop down one position to second and third respectively:

Jackson, WY-ID
Glenwood Springs, CO
Santa Fe, NM
Breckenridge, CO
Edwards, CO

Three new cities appear in the top 20 medium and small cities list: Maui, Hawaii; St. Cloud, Minnesota; and Medford, Oregon, ranked at 14, 16, and 20, respectively. The full top 20 lists are available on the NCAR website, including scores on each of the three dimensions (supply, demand, and government support).

Beyond the specific rankings, select key findings in the Arts Vibrancy Index include:

Every region of the country is represented on both lists: no region has cornered the market on arts vibrancy. Cities large and small from every region appear in the top 40 cities, although there is high representation from Western and Midwestern communities in the set of medium-small cities.
Arts vibrancy takes many shapes and forms. Some cities have impressive financial resources invested in nonprofit arts and cultural institutions, others are filled with many smaller organizations and venues, some are tourist destinations, and still others are artist colonies. Some cities are strong in numerous arts sectors while others are capitals of a particular art form.
Vibrancy in very large cities takes two distinct forms: some cities feature a strong concentration of arts vibrancy in the urban core with less happening in the surrounding areas, while others feature an even distribution of vibrancy across their metropolitan areas.
The majority of arts-vibrant cities have a population either under 300,000 or between 1,000,000 and 3,000,000.

About NCAR
In 2012, the Meadows School of the Arts and Cox School of Business at SMU launched the National Center for Arts Research (NCAR). The Center, the first of its kind in the nation, analyzes the largest database of arts research ever assembled; investigates important issues in arts management and patronage; and makes its findings available to arts leaders, funders, policymakers, researchers and the general public.

Follow SMUResearch.com on twitter at @smuresearch.

SMU is a nationally ranked private university in Dallas founded 100 years ago. Today, SMU enrolls nearly 11,000 students who benefit from the academic opportunities and international reach of seven degree-granting schools. For more information see www.smu.edu.

SMU has an uplink facility located on campus for live TV, radio, or online interviews. To speak with an SMU expert or book an SMU guest in the studio, call SMU News & Communications at 214-768-7650.

Tags Cox School of Business, Meadows School of the Arts, National Center for Arts Research, Zannie Giraud Voss

Culture, Society & Family Fossils & Ruins

Text in lost language may reveal god or goddess worshipped by Etruscans at ancient temple

Post author By Margaret Allen
Post date March 28, 2016

Rare religious artifact found at ancient temple site in Italy is from lost culture fundamental to western traditions

Archaeologists in Italy have discovered what may be a rare sacred text in the Etruscan language that is likely to yield rich details about Etruscan worship of a god or goddess.

The lengthy text is inscribed on a large 6th century BCE sandstone slab that was uncovered from an Etruscan temple.

A new religious artifact is rare. Most Etruscan discoveries typically have been grave and funeral objects.

“This is probably going to be a sacred text, and will be remarkable for telling us about the early belief system of a lost culture that is fundamental to western traditions,” said archaeologist Gregory Warden, co-director and principal investigator of the Mugello Valley Archaeological Project, which made the discovery.

The slab, weighing about 500 pounds and nearly four feet tall by more than two feet wide, has at least 70 legible letters and punctuation marks, said Warden, professor emeritus at Southern Methodist University, Dallas, main sponsor of the project.

Scholars in the field predict the stele (STEE-lee), as such slabs are called, will yield a wealth of new knowledge about the lost culture of the Etruscans.

The Etruscan civilization once ruled Rome and influenced Romans on everything from religion to government to art to architecture.

Considered one of the most religious people of the ancient world, Etruscan life was permeated by religion, and ruling magistrates also exercised religious authority.

The slab was discovered embedded in the foundations of a monumental temple where it had been buried for more than 2,500 years. At one time it would have been displayed as an imposing and monumental symbol of authority, Warden said.

The Mugello Valley dig, specifically the Poggio Colla site, is northeast of Florence, Italy.

The slab would have been connected to the early sacred life of the sanctuary there. The architecture then was characterized by timber-framed oval structures pre-dating a large temple with an imposing stone podium and large stone column bases of the Tuscan Doric type, five of which have been found at the site, Warden said.

“We hope to make inroads into the Etruscan language,” said Warden, president and professor of archaeology at Franklin University Switzerland. “Long inscriptions are rare, especially one this long, so there will be new words that we have never seen before, since it is not a funerary text.”

Conservation and study of the stele, with full photogrammetry and laser scanning to document all aspects of the conservation process and all details of the inscribed surfaces, is underway in the next few months at the conservation laboratories of the Tuscan Archaeological Superintendency in Florence by experts from the architecture department of the University of Florence. The sandstone, likely from a local source, is heavily abraded and chipped, with one side reddened, possibly from undergoing burning in antiquity. Cleaning will allow scholars to read the inscription.

“We know how Etruscan grammar works, what’s a verb, what’s an object, some of the words,” Warden said. “But we hope this will reveal the name of the god or goddess that is worshiped at this site.” The text will be studied and published by a noted expert on the Etruscan language, Rex Wallace, Professor of Classics at the University of Massachusetts Amherst.

In two decades of digging, Mugello Valley Archaeological Project has unearthed objects about Etruscan worship, beliefs, gifts to divinities, and discoveries related to the daily lives of elites and non-elites, including workshops, kilns, pottery and homes. This wealth of material helps document the ritual activity from the 7th century to the 2nd century BCE, including gold jewelry, coins, the earliest scene of childbirth in western European art, and in the past two seasons, four 6th-century bronze statuettes.

Etruscan scholar Jean MacIntosh Turfa with the University of Pennsylvania Museum, Philadelphia, said the stele discovery will advance knowledge of Etruscan history, literacy and religious practices.

“Inscriptions of more than a few words, on permanent materials, are rare for the Etruscans, who tended to use perishable media like linen cloth books or wax tablets,” Turfa said. “This stone stele is evidence of a permanent religious cult with monumental dedications, at least as early as the Late Archaic Period, from about 525 to 480 BCE. Its re-use in the foundations of a slightly later sanctuary structure points to deep changes in the town and its social structure.”

It would be a rare discovery to identify the Etruscan god or goddess to which the sanctuary was dedicated.

“Apart from the famous seaside shrine at Pyrgi, with its inscribed gold plaques, very few Etruscan sanctuaries can be so conclusively identified,” Turfa said. “A study of the names of the dedicants will yield rich data on a powerful society where the nobility, commoners and even freed slaves could offer public vows and gifts.”

Etruscans were a highly cultured people, but very little of their writing has been preserved, mostly just short funerary inscriptions with names and titles, said archaeologist Ingrid Edlund-Berry, professor emerita, The University of Texas at Austin.

“So any text, especially a longer one, is an exciting addition to our knowledge,” said Edlund-Berry, an expert in Etruscan civilization. “It is very interesting that the stele was found within the walls of the buildings at the site, thus suggesting that it was re-used, and that it represents an early phase at the site.”

The Poggio Colla site is in northern Etruria. Most inscriptions have come from centers further south, Edlund-Berry said.

The stele was officially reported during a scientific exhibit of the Tuscan Archaeological Superintendency starting March 19, “Shadow of the Etruscans,” in Prato, Italy.

Besides SMU, other collaborating institutions at Mugello Valley Archaeological Project include Franklin and Marshall College, the University of Pennsylvania Museum of Archaeology, the Center for the Study of Ancient Italy at The University of Texas at Austin, The Open University (UK), and Franklin University Switzerland. — Margaret Allen

Tags Meadows School of the Arts, P. Gregory Warden, Poggio Colla

Culture, Society & Family Fossils & Ruins Researcher news

New look at Pizarro’s conquest of Inca reveals foot soldiers were awed by empire’s grandeur

Post author By Margaret Allen
Post date March 4, 2016

Grand symbolism of Inca power through art, architecture, textiles and livestock held little sway over the artillery, guns and cavalry of the Spanish army.

SMU pre-Columbian expert Adam Herring takes a new look at Spanish conquistador Francisco Pizarro's 1532 attack on the Inca Empire. (Hillsman Jackson, SMU) — SMU pre-Columbian expert Adam Herring takes a new look at Spanish conquistador Francisco Pizarro’s 1532 attack on the Inca Empire. (Hillsman Jackson, SMU)

Spanish conquistador Francisco Pizarro’s 1532 attack on the Inca empire during a two-day conflict in Cajamarca, Peru is an infamous episode in history.

But efforts by the pre-contact Inca to display their power and authority to the Spanish through architecture, landscape, geoglyphs, textiles, ceramics, feather work and metalwork failed to stop Pizarro.

“The Inca were overconfident,” says SMU pre-Columbian expert Adam Herring. “They didn’t understand the tactical violence of horses and metal weapons. Destruction always carries the day.”

Twenty-four hours after Pizarro confronted the Inca empire, which covered most of South America’s Andean region, the royal Inca leadership was shattered.

Herring, associate professor of art history in SMU’s Meadows School of Arts, takes a new look at Pizarro’s attack in his book, Art and Vision in the Inca Empire.

The book was one of four finalists for the 2016 international Charles Rufus Morey Book Award, the College Art Association’s highest distinction awarded to a scholarly work.

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Nestled amongst a rocky outcrop atop Mount Huanacaure in the Peruvian Andes is an important Inca religious site. — Nestled amongst a rocky outcrop atop Mount Guanacaure in the Peruvian Andes is an important Inca religious site.(Adam Herring, SMU)

Instead of studying the battle, however, Herring is the first scholar to examine the event as an art historian. As Pizarro’s 180-man army crested the mountains surrounding Cajamarca, they first saw thousands of llamas grazing in the valley.

“The Spanish interpreted the sight as a pastoral scene, something out of an Iberian romance of chivalry such as the Song of Roland or El Cid. In fact those animals were the fist of Inca power,” Herring says. “Llamas served as pack animals for the Incas’ army of 70,000 soldiers. The great herd was also an inducement to surrender, for the animals could be bestowed as gifts—a payoff, essentially—to an enemy who surrendered and swore fealty to the Inca ruler.”

When Pizarro invited Inca ruler Atawallpa to a feast in his honor, Atawallpa spoke to Pizarro behind a transparent screen of woven fabric, theatrical staging in a politically charged context, Herring says. “They were presenting the Inca ruler as a divine apparition, less a living person than a disembodied visual experience.”

The Spanish tradesman, foot soldiers and notaries who comprised Pizarro’s rag tag army struggled to find the words to comprehend the grandeur of the Inca empire.

“Their words are unvarnished and honest, unlike accounts written later by men of letters,” Herring says.

Pedro Pizarro, a teen-age pageboy to his uncle Francisco, wrote, “And they bore so much gold and silver – what a strange thing it was as it glinted in the sunlight.”

The grand symbolism of Inca power through art, architecture, textiles and animals held little sway over the artillery, guns and cavalry of the Spanish army. Pizarro ambushed Atawallpa at their meeting, taking him captive and killing thousands of his retainers and soldiers. Within a year, the Inca dynastic regime had been toppled, reduced from its former status as an empire that stretched the length of the Andes from Ecuador to Patagonia.

“There is still much to learn about the role of Inca visual expression in Inca ritual and politics,” Herring says. “At Cajamarca, Europeans witnessed Inca art in motion and in the political moment.”

Last year alone over 1.5 million tourists traveled to another remote Inca site, Machu Picchu, Peru, abandoned after Pizarro’s conquest. Inca art, architecture and displays of power continue to fascinate visitors.

Besides the Charles Rufus Morey Book Award, Art and Vision in the Inca Empire also received an honorable mention PROSE Award from the American Association of Publishers.

A specialist in the art of the pre-Columbian Americas, Herring studied at Princeton University, the University of California at Berkeley and at Yale University, where his dissertation in art history received the 1999 Frances Blanshard Fellowship Award.

Herring is the author of numerous journal articles and a 2005 book on ancient Maya calligraphy, Art and Writing in the Maya Cities, AD 600-800: A Poetics of Line, published by Cambridge University Press. At SMU Herring teaches courses on Inca, Aztec and Maya art. He has led student groups to study architecture in Italy; Inca sites at Machu Picchu, Peru, and art at SMU-in-Taos, New Mexico.

“My teaching, research and scholarship inform one another,” he says. “I couldn’t do one without the others.” — Nancy George

Follow SMUResearch.com on twitter at @smuresearch.

SMU has an uplink facility located on campus for live TV, radio, or online interviews. To speak with an SMU expert or book an SMU guest in the studio, call SMU News & Communications at 214-768-7650.

Tags Adam Herring, Meadows School of the Arts

Culture, Society & Family Learning & Education Researcher news

National Center for Arts Research white paper counters findings of the Devos Institute Study on Culturally Specific Arts Organizations

Post author By Margaret Allen
Post date February 8, 2016

NCAR study identifies the key differences between culturally specific organizations and their mainstream peers and calls for a more equitable measurement of performance

The National Center for Arts Research (NCAR) at Southern Methodist University today released a white paper that examines the distinguishing characteristics of arts organizations that primarily serve Asian American, African American, and Hispanic/Latino communities.

The study is designed to provide insights, based on measurable data, about the operating contexts and unique challenges that these organizations face. Co-authored with Andrea Louie, Executive Director, Asian American Arts Alliance, and Zenetta Drew, Executive Director, Dallas Black Dance Theatre, the goal of the white paper is to provide a more nuanced understanding of culturally specific organizations and to help establish a more equitable measure of their performance.

Inspired by the DeVos Institute’s 2015 publication “Diversity in the Arts: The Past, Present and Future of African American and Latino Museums, Dance Companies, and Theater Companies,” NCAR’s paper responds to two key aspects of the DeVos Institute’s findings: first, that arts organizations of color are in general smaller and “far less secure” than their mainstream counterparts; and second, that funders might see greater results by providing larger grants to a smaller number of “effective” organizations, rather than continuing to fund a larger number of organizations through smaller grants.

Based on its research, NCAR found that culturally specific arts organizations are not disproportionately smaller than their mainstream peers. Taking into account their sector and age, the data shows that they are generally younger and therefore at a different stage in their evolution than mainstream organizations.

NCAR argues that the funding model proposed by DeVos would be detrimental to the cultural ecology, as it could effectively reduce the overall number of smaller organizations and therefore diminish the level of diversity, dynamism, and innovation in the field. NCAR calls for a deeper understanding of culturally specific organizations before significantly altering or abandoning their funding.

“We recognize that culturally specific organizations have particular characteristics that should be understood for what they are, neither good nor bad nor a sign of ineffectiveness but simply a different starting point,” said Zannie Voss, director at NCAR. “With this study, we want to reframe how we assess the performance of these organizations by identifying the differences in their operating contexts and by establishing a more precise framework of what expected performance should look like, rooted in evidence-based research.”

NCAR’s study examined the operating characteristics of arts organizations that primarily serve African Americans, Asian Americans, or Hispanics/Latinos as compared to their more mainstream counterparts, and examined whether they perform significantly differently on a variety of metrics. An analysis of data from a large sample of organizations across 12 different arts and culture sectors produced several other key findings:

Culturally specific organizations are more prevalent in sectors that have lower average budget size (e.g., community-based arts, arts education), and less prevalent in sectors with larger budgets (e.g., museums, opera companies, performing arts centers).
Culturally specific organizations have similarly sized budgets and physical facilities as mainstream organizations but spend less on marketing, earn less from subscriptions, and have lower trustee giving; however, they attract a higher level of support from government sources.

These organizations also demonstrate performance characteristics that distinguish them from one another (as well as their mainstream counterparts). More specifically:

Asian American organizations generate more attendance using fewer resources but also attract a lower level of support from all sources except for government.
African American organizations tend to have fewer programmatic offerings that generate lower annual attendance and program revenue but more contributed revenue, especially from individuals, foundations and corporations.
Hispanic/Latino organizations tend to have a higher number of programmatic offerings, full-time employees, and development expenses, which generate higher overall contributed support, especially from corporations and foundations, but lower program revenue and lower individual giving.

In order to create the level playing field it seeks to establish, NCAR’s study controlled for a number of factors:

Inherent differences within the arts and culture sector; e.g., data shows that art museums have higher attendance rates than do dance companies.

Organizational characteristics, especially fundamental characteristics that are difficult to change in the short term but can influence performance attributes of an organization, such as size of the physical facility and organizational age.

The characteristics of the community where the organizations operate; e.g., New York City has a larger population with higher average income and tourist visits than most U.S. cities, but also more competition for arts and culture consumers.

“Diversity in the arts is a multifaceted and complex issue. As an academic institution that seeks to educate future leaders in the arts, we are proud to make this contribution to the broader field discussion on diversity,” said Sam Holland, dean of the Meadows School of the Arts at SMU. “NCAR was established to catalyze new and informed thinking about important issues in the arts with a data-driven approach. It is our hope that the compelling insights set out by this study will help support the sustainability of a dynamic and diverse arts and cultural community around the country.”

Tags Meadows School of the Arts, National Center for Arts Research, Sam Holland, Zannie Giraud Voss

Culture, Society & Family Economics & Statistics

Data-driven assessment ranks U.S. Metropolitan Areas by arts and cultural assets

Post author By Margaret Allen
Post date January 29, 2015

NCAR, SMU’s National Center for Arts Research, creates index to measure arts vibrancy of U.S. Metropolitan Areas

NCAR, SMU’s National Center for Arts Research, today released its first annual Arts Vibrancy Index.

The index ranks more than 900 communities across the country. Vibrancy is measured as the level of supply, demand and government support for arts and culture on a per capita basis. The report highlights the top 20 large markets and top 20 medium and small markets. NCAR provides rank scores on all measures for every U.S. county on the interactive heat map.

“The numbers are only the start of the story, not the end. Each city in our report is unique in what makes it a vibrant community for the arts,” said Zannie Giraud Voss, director of NCAR and chair and professor of arts management and arts entrepreneurship in SMU’s Meadows School of the Arts and Cox School of Business. “Our intention in developing this report is to stimulate conversation about what makes a city vibrant in the arts and how arts vibrancy varies across cities.”

The overall index is composed of three dimensions.

Supply is assessed by the total number of arts providers in the community, including the number of independent artists, arts, culture and entertainment employees, and arts organizations.

Demand is gauged by the total nonprofit arts dollars in the community, including program revenue, contributed revenue, total expenses and total compensation.

Level of government support is based on state arts dollars and grants and federal arts dollars and grants.

girls, virtual reality, say no, sexual violence, assertiveness training, Rowe, Jouriles, McDonald, SMU

supervolcano, fossil, Italy, James Quick, Sesia Valley

Meltzer, contraception, couples, happiness

Morrison Formation, Jurassic, climate, ancient soil, Myers, paleosols

Geographically, the rankings utilize Metropolitan Statistical Areas (MSAs), which are delineated geographic areas consisting of one or more counties that have high social and economic integration with an urban core as defined by the Office of Management and Budget. By focusing on MSAs, the index captures the network of suburbs that rise up around a city or town rather than considering them separately.

Among cities with populations of 1 million or more, the five most vibrant arts communities are as follows:

Washington-Arlington-Alexandria, D.C.-Virginia-Maryland-West Virginia
Nashville-Davidson-Murfreesboro-Franklin, Tennessee
New York-Jersey City-White Plains, New York-New Jersey
Boston, Massachusetts
San Francisco-Redwood City-South San Francisco, California

For medium and small cities, with population under 1 million, the top five cities are all in the West:

Glenwood Springs, Colorado
Santa Fe, New Mexico
Jackson, Wyoming-Idaho
Breckenridge, Colorado
Edwards, Colorado

The full top-20 lists are available on the NCAR Arts Vibrancy Index, including scores on each of the three dimensions of supply, demand and government support.

Beyond the specific rankings, select key findings in the Arts Vibrancy Index include:

No region has cornered the market on arts vibrancy. Cities large and small from every region appear in the top 40 cities, although there is high representation from Western communities in the set of Medium-Small cities.

Arts vibrancy takes many shapes and forms. Some cities have impressive financial resources invested in nonprofit arts and cultural institutions, others are filled with many smaller organizations and venues, some are tourist destinations and still others are artist colonies. Some cities are strong in numerous arts sectors while others are capitals of a particular art form.

There are interesting differences across very large Metropolitan Statistical Areas (MSAs). Those that made the list tend either to have a strong concentration of arts vibrancy in an urban core and less going on in surrounding communities, or they are vibrant throughout the greater metropolitan area, and less so in the city center.

The majority of arts vibrant cities have a population either under 300,000 or between 1,000,000 and 3,000,000.

In 2012, Meadows and Cox launched NCAR, the first of its kind in the nation. NCAR analyzes the largest database of arts research ever assembled, investigates important issues in arts management and patronage, and makes its findings available to arts leaders, funders, policymakers, researchers and the general public.

With data from the Cultural Data Project (CDP) and other national and government sources such as the Theatre Communications Group, the National Endowment for the Arts, the Census Bureau and the National Center for Charitable Statistics, NCAR is creating the most complete picture of the health of the arts sector in the U.S.

The project’s indices and dashboard were created in partnership with IBM, TRG Arts and Nonprofit Finance Fund. The Center also partnered with the Boston Consulting Group to develop its mission, vision and long-term strategies.

NCAR is led by Zannie Voss and Glenn Voss, Endowed Professor of Marketing at Cox.

Meadows, one of the foremost arts education institutions in the United States, offers undergraduate and graduate degrees in advertising, art, art history, arts management and arts entrepreneurship, communication studies, creative computation, dance, film and media arts, journalism, music and theatre.

Cox offers a full range of undergraduate and graduate business education programs.

Follow SMUResearch.com on twitter at @smuresearch.

SMU has an uplink facility located on campus for live TV, radio, or online interviews. To speak with an SMU expert or book an SMU guest in the studio, call SMU News & Communications at 214-768-7650.

Tags Cox School of Business, Meadows School of the Arts, National Center for Arts Research, Zannie Giraud Voss

SMU’s National Center for Arts Research (NCAR) releases Second Annual Arts Vibrancy Index

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Rare religious artifact found at ancient temple site in Italy is from lost culture fundamental to western traditions

Grand symbolism of Inca power through art, architecture, textiles and livestock held little sway over the artillery, guns and cavalry of the Spanish army.

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NCAR study identifies the key differences between culturally specific organizations and their mainstream peers and calls for a more equitable measurement of performance

NCAR, SMU’s National Center for Arts Research, creates index to measure arts vibrancy of U.S. Metropolitan Areas

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