Attachment A - Literature Scan and Focus Group Reports

ATTACHMENT A:
LITERATURE SCAN AND FOCUS GROUP REPORTS

Table of Contents
Literature Scan Report................................................................................................................. 1
Recommendations ....................................................................................................................... 5
Focus Group Report ..................................................................................................................... 6
Methods ...................................................................................................................................... 6
Findings ...................................................................................................................................... 7
Recommendations ..................................................................................................................... 14
Appendix A. Detailed Methods ................................................................................................ 15
Appendix B. Communication Materials ................................................................................... 18
Appendix C. Focus Group Discussion PowerPoint Presentation ............................................. 25
Appendix D. Focus Group Discussion Guides ......................................................................... 33
Appendix E. Recommendations for Survey Constructs and Indicators.................................... 39
Appendix F. Codebook for Data Analysis ................................................................................ 43

Literature Scan Report
This memo summarizes the findings from 2M’s literature scan for the National Endowment for the Arts
(NEA), covering research and evaluation studies that assess the impacts to artists’ careers when they
participate in international festivals, exchange programs, and other international experiences. The
purpose of the literature scan was (1) to clearly define potential constructs of benefits that artists
experience by participating in exchange programs and (2) to determine whether measures of the
constructs already exist. Below, we describe the constructs related to artist career benefits that we
identified in the literature scan. We provide a table showing measures identified in the literature for
each construct. We conclude with recommendations for constructs to discuss in focus groups with
artists who have participated in the USArtists International (USAI) program. The purpose of these focus
groups will be to gain a deeper understanding of how the constructs specifically apply to the USAI
artists’ experiences, to illuminate how it may vary from the literature findings, and to collect rich
qualitative data on the professional outcomes from the artists themselves. Ultimately, 2M will utilize
these data to inform the development of a web survey of USAI artists.
2M identified several constructs in the literature that fall under three themes. First are constructs
related to artists’ professional growth. This theme includes constructs for expansion of professional
networks, developing a positive reputation as an artist, learning and developing new professional and
leadership skills, and communicating/disseminating new knowledge and skills to other artists. The
second theme is development of an artist’s artistic practice and includes constructs for creativity and
cultural reflection. Finally, we identified a third theme related to personal growth that includes
development of an identity as an artist. Although constructs related to artists’ professional growth are
most directly related to benefits to artists’ careers, 2M included constructs related to artistic practice
and personal growth as well because these may have an indirect but significant impact on artists’
careers overtime.
Table 1 summarizes the constructs and associated indicators that 2M uncovered in the literature scan.

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Supporting Statement for OMB No

Table 1. Summary of Literature Scan Findings
THEME
Professional Growth:
constructs that relate
to the professional
growth of artists

CONSTRUCT
Expanded professional
networks: increased
number of professional
contacts/relationships
that an artist has

Enhanced reputation:
development of a
positive reputation, an
artist becomes more
“known” in the
artworld

Expanded professional
opportunities:
increased number of
opportunities available
to artists based on
success

New professional skills
and learning: learning
new skills (new

INDICATORS IDENTIFIED IN LITERATURE
• Making more contacts with other artists
• Forming close relationships with other artists
• Collaborating with international partner organizations
• Helping connect other artists to contacts in your
network
• Maintaining professional contacts after the program
ends
• Networking with artist support agencies and artist
services
• Developing new partnerships after the program ends
• Collaborating with artists to produce more art
• Engaging wider networks to financially back artists
• Strengthening existing artist networks
• Improving reputation among peers
• Improving reputation among public
• Winning awards or other recognitions
• Receiving more art criticism
• Receiving more media coverage
• Participating in media interviews
• Gaining “pull” within the negotiations for festival
performances
• Gaining influence within the festival circuit
•
• Obtaining promotions/job advancement
• Increasing revenue
• Receiving new or sustained funding
• Receiving more opportunities to show work in new
countries
• Obtaining more invitations and bookings
• Making return trips to the host country to show work

•
•

Learning another language
Understanding of travel regulations such as VISA,
import/export, etc.

CITATIONS
Alliance for International Educational Cultural
Exchange (2013); Americans for the Arts (2010);
AMS Planning & Research (2006); Carnwath
(2018, July 10b); Center for Cultural Innovation
(2016); Friel (2018); Gibb (2012); Hubbard
(2009); Lee (2015); MidAtlantic Arts Foundation
(n.d.); Parkinson & Buttrick (2016);
TransCultural Exchange (2017); U.S. Department
of State (2016); U.S. Department of State
(2017); U.S. Department of State (n.d.); U.S.
Regional Arts Organizations (2009);
Woronkowicz & Noonan (2019)
Burland & Pitts (2010); Carnwath (2018, July 2);
Carnwath (2018, July 10a); Ferguson (2013);
Friel (2018); Jackson (2004); Koek (2017);
Parkinson & Buttrick (2016); WolfBrown (2018)

Aguirre Division of ABS International, Inc.
(2007); Carnwath (2018, July 2); Carnwath
(2018, July 10a); Carnwath (2018, July 10b);
Caust & Glow (2011); Ferguson (2013); Friel
(2018); Koek (2017); Parkinson & Buttrick
(2016); Tadmor, Galinsky, & Maddux (2012);
MidAtlantic Arts Foundation (n.d.); U.S.
Department of State (2016); U.S. Department of
State (2017); U.S. Department of State (n.d.);
WolfBrown (2018)
Aguirre Division of ABS International, Inc.
(2007); Alliance for International Educational
Cultural Exchange (2013); Howell & Dunphy

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THEME

Artistic Practice:
constructs that relate
to changes or
improvements in
artistic practice

CONSTRUCT
technologies, new
languages,
management skills etc.)

Entrepreneurialism:
working to implement
or create new
opportunities for
oneself, other artists,
or one’s community
Knowledge sharing:
communication of
knowledge and skills
learned to others
Increased creativity:
incorporation of new
ideas and innovative
ways of thinking into
artistic practice

INDICATORS IDENTIFIED IN LITERATURE
• Learning management skills (e.g., financial
management, logistics)
• Learning marketing skills (e.g., self-promotion, access to
funding, identifying market opportunities)
• Learning new computer applications
• Learning how to use internet for research
• Learning public speaking skills
• Gaining new artistic skills
• Learning how to use technology to share art
performance
• Learning to use technology devices to create art
• Attending lessons/classes to develop artistic skill
• Assuming a leadership role in your community
• Organizing or initiating new projects
• Establishing a new business or organization
• Learning how to lead a team and motivate others
• Being self-employed
•
•
•

Sharing skills learned with peers
Writing articles or books
Giving presentations

•
•
•
•
•
•

Incorporating new ideas more frequently
Incorporating more diversity in the types of ideas
Incorporating more novel ideas
Being exposed to various artforms and new ideas
Taking more risks in artistic practice
Increasing ability to discover an underlying link that
connects disparate concepts
Understanding that there can be more than one
solution to a problem
Exchanging ideas and dialoging with artists from
different cultures
Developing a new understanding of diverse cultures
Increasing acceptance among a diverse audience
Increasing knowledge of how diverse cultures are
Being tolerant of others different than you
Increasing willingness to discuss one’s beliefs and values

•
Cultural reflection:
incorporation and
reflection of new and
diverse cultural
perspectives in artistic
practice

•
•
•
•
•
•

CITATIONS
(2012); Kishkovsky (2000); National Endowment
for the Arts & U.S. Census Bureau (2017);
Parkinson & Buttrick (2016); Rooke (2016);
Symons (2018); U.S. Department of State
(2016); U.S. Department of State (2017); U.S.
Department of State (n.d.)

Alliance for International Educational and
Cultural Exchange (2013); Caust & Glow (2011);
Center for Cultural Innovation (2016); U.S.
Department of State (2016); U.S. Department of
State (2017); U.S. Department of State (n.d.);
Woronkowicz & Noonan (2019)
Aguirre Division of ABS International, Inc.
(2007); U.S. Department of State (2016); U.S.
Department of State (2017); U.S. Department of
State (n.d.)
Carnwath (2018, July 2); Caust & Glow (2011);
Friel (2018); Gibb (2012); Lee (2015); Lindner
(2012); Maddux, Adam, & Galinsky (2010);
Maddux & Galinsky (2009); Lim (2012); Ng
Heung-sang (2001); Parkinson & Buttrick (2016);
Raymond (2017); Sloan (2008); Tadmor,
Galinsky, & Maddux (2012)

Aguirre Division of ABS International, Inc.
(2007); Alliance for International Educational
Cultural Exchange (2013); Americans for the
Arts (2010); AMS Planning & Research (2006);
Carnwath (2018, July 10a); Deng (2016); Friel
(2018); Gonzalez (2017); Johnston (2010); Joshi
(1976); Kumanyika & Elavsky (2013); National

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THEME

CONSTRUCT

INDICATORS IDENTIFIED IN LITERATURE
• Performing art to celebrate a particular cultural heritage

Personal growth:
constructs that relate
to the personal growth
of artists

Identity: developing an
identity as an artist and
a sense of belonging
within a community of
artists
Efficacy: increased
competence as an artist
to conduct
affairs/perform
independently

•
•
•
•
•

Understanding how my artwork fits within the larger
field
Building a sense of purpose and identity as an artist
Building a sense of belonging to a professional
community
Building confidence to perform in different countries
Building independence or ability to self-direct

CITATIONS
Endowment for the Arts & U.S. Census Bureau
(2017); Schrock (2016); TransCultural Exchange
(2017); U.S. Department of State (2017); U.S.
Department of State (n.d.); Warburton (2017)
Aguirre Division of ABS International, Inc.
(2007); Caust & Glow (2011); Lee (2015);
Parkinson & Buttrick (2016); Raymond (2007);
U.S. Department of State (n.d.)
Caust & Glow (2011); Parkinson & Buttrick
(2016)

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RECOMMENDATIONS
The results of the literature scan show strong consensus in the literature regarding the benefits of IE
programs for artists. Most of the constructs in Table 1 above are described by several sources that we
included in the literature scan. For the future web survey, 2M recommends considering and
investigating further with focus groups the following constructs: (1) professional growth constructs
capturing expanded professional networks, enhanced reputation, expanded professional opportunities,
new professional skills and learning, and entrepreneurialism; (2) artistic practice constructs capturing
increased creativity and cultural reflection; and (3) a personal growth construct capturing identity. 2M
does not recommend further investigation of the professional growth construct for knowledge sharing
or the personal growth construct for efficacy, as these constructs were less represented in the literature.
In addition to investigating these constructs, 2M will remain open to additional constructs that may arise
through focus group conversations with artists who participated in the USAI program. 2M plans to hold
one focus group with artists who have participated in USAI only once (single awardees) and a second
focus group with artists who have participated in USAI more than once (repeat awardees). 2M will
comply with the Paperwork Reduction Act requirement that no more than nine people be asked the
same question, we will include no more than nine artists in each focus group, and we will ensure the
focus groups discuss different topics. Based on our review of the literature, 2M has identified constructs
that we think are better aligned with single awardees and repeat awardees. Importantly, 2M suspects
that all constructs may apply to any type of artist that participates in the USAI program; however, we
think that single awardees may be better able to speak to constructs that are most likely to be realized
after a new experience in the USAI program, while repeat awardees may be better able to speak to
constructs that are most likely realized and cultivated over a longer period of time. Table 2 presents our
initial recommendations for the topics that each focus group will cover. We will discuss these
recommendations and the results of the literature review in more detail with NEA before making a final
decision.

Table 2. Recommended Constructs for Focus Groups
Focus Group 1 (Single Awardees)
• New professional skills and learning
• Entrepreneurialism
• Increased creativity
• Cultural reflection

Focus Group 2 (Repeat Awardees)
• Expanded professional networks
• Enhanced reputation
• Expanded professional opportunities
• Identity

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Focus Group Report
This memo summarizes the findings from 2M’s focus groups held on behalf of the National Endowment
for the Arts (“the Arts Endowment”), examining the impacts on artists’ careers when they participate in
international festivals, exchange programs, and other international experiences. The focus groups
vetted eight constructs based on a literature scan that identified and categorized the benefits artists
experienced as a result of participating in IE programs. The purpose of the focus groups was to compare
the artists’ conceptualization of constructs to the findings from the literature. Ultimately, 2M will utilize
these data to inform the development of a web survey of USArtists International (USAI) artists.

METHODS
2M worked with the Arts Endowment and its partners to invite and ultimately select former USAIfunded artists to participate in two virtual focus groups. First, 2M developed criteria to guide the sample
selection based on number of times funded under USAI (i.e., first-time or repeat grantee), artistic
discipline, race/ethnicity, and festival location, with considerations for the participant’s urban/rural
context. Next, 2M identified an initial batch of 27 repeat and 27 first-time grantees based on these
criteria and the Arts Endowment’s recommendations for inclusion. The Arts Endowment then sent an
initial invitation email to each of the artists, and 2M recruited five first-time artists and five repeat artists
to participate in virtual focus groups held on August 13 and 14, 2019, respectively.
2M qualitative staff moderated the focus groups, which were held via Zoom videoconferencing
software. To capture artists’ perspectives, 2M recorded each focus group and took detailed notes during
the sessions. Each of the two focus groups explored artists’ experiences with and conceptualization of
four of the eight constructs identified in the literature scan (Task 3). Table 1 shows the constructs
included in each of the focus groups.

Table 1. Constructs Identified in Literature Scan for Focus Group Discussion
Focus Group 1 (First-Time Artists)
 New professional skills and learning
 Entrepreneurialism
 Increased creativity
 Increased cultural reflection

Focus Group 2 (Repeat Artists)
 Expanded professional networks
 Enhanced reputation
 Expanded professional opportunities
 Improved identity as an artist

Following the focus groups, 2M organized the data by construct and completed a qualitative coding and
analysis of artists’ experiences to produce the focus group findings presented in this memo. Though the
intended constructs differed between each focus group, the first-time and repeat artists discussed
topics they felt were most relevant based on their professional development, which resulted in
overlapping topics between the focus groups. For example, first-time artists discussed the importance of
new professional contacts and collaborators when asked about their sense of entrepreneurialism. In
these instances, 2M coded the data to the most relevant of the eight constructs and combined data
from both focus groups. 2M then examined and compared, when possible, the experiences of each
group of artists and synthesized the data to produce findings by construct.

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Finally, based on the focus group findings, 2M presents the suggestions for revisions to the initial
literature scan findings in Appendix E. The suggested revisions refine the scope and indicators respective
to the constructs, based on artists’ experiences with the USAI program. These findings will ultimately
inform the development of a survey examining the USAI program’s impacts on artists’ careers. For
additional details on the focus group methods, see Appendix A.

FINDINGS
For each of the constructs discussed in the focus groups, we provide a summary of the artists’
discussions and note key similarities and differences between the discussion and the literature scan
findings. In Appendix E, we build on the constructs and indicators of professional development
identified during the literature scan and present compiled recommendations for consideration in the
survey of USAI artists, based on the focus group findings.

Professional Networks
All artists agreed that international festivals vastly
expanded their professional networks. First-time
and repeat artists described making new contacts
with embassies, consulates, festival liaisons and
support staff, producers, regional arts
organizations, and other artists. Repeat artists
described how the benefits of relationships
continued over time and how relationships were
strengthened by repeat visits; artists established
networks that facilitated return engagements to
the regions where the festivals were held and
gained advocates for their work across the region,
which thereby expanded their initial networks
formed during the USAI-sponsored festival(s).

Expanded Professional Networks
Key Finding: Artists expanded and
strengthened professional networks by
participating in the USAI program, which often
facilitated future funding and artistic
collaborations. These activities included the
following:








Networking with industry stakeholders (i.e.,
producers)
Networking with regional arts organizations
and governmental organizations
Establishing and strengthening relationships
with other artists
Collaborating with artists on future work
Hosting international artists in the United
States
Continuing exchange with other international
artists

Repeat artists underscored the value of in-person
interactions with new and potential collaborators at the USAI-sponsored festivals. Artists engaged in
conversations with other artists and producers regarding potential funding, tours, and new
collaborations following performances. All artists believed these conversations were more productive
because the collaborators attended the performances, witnessed and experienced the artists’ work, and
felt more engaged by the in-person conversations. The in-person conversations facilitated regional
networking and yielded additional artistic opportunities (i.e., return engagements, extended tours, and
bookings).
First-time artists found artistic partnerships easy to establish with their peers due to the similarities
between themselves and the other artists at the festivals. Festival artists shared similar interests,
disciplines, and practices, which led to USAI artists establishing new artistic collaborations and
partnerships. Repeat artists discussed meeting with international artists in the United States during their
tours abroad and, in some instances, raising funds for other artists’ trips to the United States to support
their international colleagues and the relationship overall. Repeat artists described maintaining close

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relationships with international artists and continuous sharing of information; one repeat artist
described learning “how to survive in this world” as an artist through the advice of other international
artists.

Key Takeaways


Through in-person conversations, USAI artists engaged a wide variety of professional collaborators
to facilitate ongoing engagements regionally, internationally, and domestically. Artists readily
established new contacts during festivals and strengthened relationships over time through return
visits. These findings expand the indicators of “expanded professional networks” found in the
literature scan.

Reputation
Repeat and first-time artists discussed the positive
Enhanced Reputation
benefits that participating in international festivals
and the USAI program has had for their
Key Finding: Artists experienced augmentation
of their reputation among peers and the public
reputations as artists. Artists described their first
following international tours, including the
time performing at an international festival as a
following:
breakthrough experience, which generated trust
 Gaining trust of festival producers and
with festival stakeholders (i.e., presenters and
presenters
producers); gave them a stamp of approval within
 Increasing legitimacy within international arts
the international festival circuit; and increased
communities
legitimacy within the international arts
 Increasing collaborator interest
 Increasing domestic and international media
communities. With the success of one
coverage
international festival performance, repeat artists
believed festival producers and presenters felt
more confident that artists would be successful in
executing future performances and were more willing to work with the USAI artists on future
international festivals based on the artists’ growing track record.
With improved reputations among their peers, repeat artists experienced increased interest in
collaboration from other international artists and producers. Repeat artists believed other international
artists became more interested in partnering on projects because reputable artists had higher chances
of extended tours. That is, because USAI artists had improved reputations, both producers and other
artists wanted to collaborate with them, which extended the length of tours, increased revenue, and
broadened audiences. As an indicator of other artists’ interest, one repeat artist discussed receiving a
recent uptick in proposal submissions from junior international artists who want to collaborate.
According to repeat artists, media coverage augmented artists’ reputations among a variety of
audiences and increased the recognition of artists’ performances. Media coverage improved artists’
reputations among both domestic and international audiences by generating buzz about the quality and
caliber of performances. Artists felt that media coverage drew in new audiences during international
engagements, helped establish the legacy of a company, and increased artists’ weight in future festival
negotiations.

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Key Takeaways


Following international festival performances and media coverage, artists gained clout within the
international arts communities, as well as prestige with the public, which led to increased interest from
artistic collaborators and attraction of funding and future engagements. These findings expand the
indicators of “enhanced reputation” found in the literature scan.

Professional Opportunities
Repeat artists described the USAI funding’s
Expanded Professional Opportunities
positive impact on subsequent interest and
funding for festival performances, touring, and
Key Finding: Artists experienced exponential
increases in professional opportunities available
bookings. With the USAI award, repeat artists
to them, including the following:
stated that they were able to attend festivals that
 Extending tours and life of USAI-sponsored
normally had minimal financial support available,
performances domestically and internationally
as funding varies by region and festival. Once USAI
 Attracting collaborator interest in partnerships
funding was received, artists leveraged the initial
 Increasing revenue from performances
funding for travel to generate interest from arts
 Understanding the market for U.S.-dominated
agencies and non-arts institutions to extend tours
art forms
and secured additional touring dates following the
 Being hired as teachers or educators following
performances
USAI-sponsored festival. Repeat artists
emphasized the importance of extending
international tours or domestic performances to
capitalize on the artists’ investments in preparing
performances for the USAI-sponsored festivals,
which then generated increased revenue. Artists partially attributed the building interest and financial
backing to a result of the legitimacy associated with the USAI award.
Repeat and first-time artists discussed a variety of professional opportunities that resulted from their
participation in the USAI-sponsored festival. Artists pursued new artistic partnerships and
collaborations, extended domestic and international tours, returned to the festivals’ host countries, and
performed in new countries. Repeat artists discussed an improved understanding of their art within the
larger international field, which helped position them to be more successful; artists described this as
“having an understanding of the appetite,” which was particularly relevant for the artists with a
primarily American art form, such as certain styles of dance and music.
First-time and repeat artists discussed formal teaching opportunities that resulted from festival
participation. Through teaching engagements such as workshops, first-time artists formally continued
exchanges with other festival artists. First-time artists led small- and large-scale workshops in the
festivals’ region after receiving invitations from contacts made at the festival, thus broadening their
audiences.

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Key Takeaways


Artists received significant increases in professional invitations and opportunities available to them
following their participation in a USAI-sponsored festival. Artists leveraged the international festival
experience as a way to demonstrate their art, gain an understanding of the market for their art, and
attract collaborators and funders, including opportunities for teaching their art practices. These
findings expand the indicators of “expanded professional opportunities” found in the literature scan.

Professional Skills and Learning
First-time artists believed attending international
festivals required artists to practice self-promotion
to engage new audiences and publicize upcoming
performances. Artists believed the USAI program
aided the development of self-promotion skills by
giving artists opportunities to exercise tactics they
had used previously and to identify and pilot new
self-promotion tactics based on the
communication preferences of the audience(s).
First-time artists primarily discussed learning new
social media platforms and using electronic (i.e.,
email) self-promotion tactics.

New Professional Skills and Learning
Key Finding: Artists discussed new and
strengthened skills resulting from their
participation in a USAI-sponsored festival,
including the following:








Self-promotion
Technological and social media skills
Teaching skills
Communication practices
Presentation and performance techniques
Engagement with new audiences
Experience with grant and festival
applications
Logistical experience of traveling abroad
Expansion of repertoire


First-time artists emphasized how attending an

international festival required the artists to
develop new skills and strategies to overcome
language barriers. Artists agreed new, alternative
methods of engagement and interactive performances allowed artists to interact with audiences who
did not share a common language with the performers. Additionally, artists became more skilled in
navigating the procedures of working with an interpreter during question and answer sessions and other
conversational interactions with the audience.

First-time and repeat artists felt their participation in the USAI program represented practical successes.
Artists felt they gained experience in understanding grant application requirements and successfully
winning awards supporting international performances. Artists, particularly those with large ensembles,
gained understanding of the logistical considerations required for international travel and execution of
the performances.
First-time and repeat artists emphasized that artists not only attended festivals as performers but also
as participants, instructors, and leaders of workshops and other pedagogical activities. Artists practiced
and strengthened their teaching skills by engaging in these activities and engaging new audiences.
Finally, artists discussed festivals as an opportunity to apply new performance techniques and refine
existing elements of their performances. Artists developed new performances for the USAI-sponsored
festival performances, thus increasing their repertoire.

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Key Takeaways




Artists learned new skills and strengthened existing skills in order to successfully execute
performances abroad. Artists learned new skills needed to overcome language barriers, gained
practical and logistical experience, and practiced performance techniques. These findings expand
those identified in the literature scan and should, therefore, be considered for inclusion in the survey.
Artists led and participated in pedagogical activities and strengthened their teaching skills by
engaging diverse and foreign audiences. These findings vary from those of the literature scan and
should, therefore, be considered for inclusion in the survey.

Entrepreneurialism
First-time artist participants discussed
Sense of Entrepreneurialism
entrepreneurialism primarily in relation to
establishing partnerships and collaborations.
Key Finding: Artists related entrepreneurialism
Artists sought out, organized, and initiated new
to their interest in new professional networks
partnerships, projects, and collaborations with
and opportunities, including the following:
contacts made at the festivals. Generally, artists
 Organizing and initiating new projects
did not believe USAI impacted activities indicating
entrepreneurialism (i.e., establishing businesses,
assuming leadership positions) because the funding is limited to festival attendance and performance.
First-time artists believed entrepreneurialism tied more closely to the artists’ approach and reception to
invitations to collaborate from the artists, and to whether the artists were open to collaborations
initiated by others during the festival.

Key Takeaways




Compared to the findings of the literature scan, artists had a relatively limited discussion of how
participating in the USAI program influenced their sense of entrepreneurialism. Artists considered
changes to their sense of entrepreneurialism limited to their approach to collaborations initiated or
established during the festival.
These findings indicate artists conceive of entrepreneurialism as a component of collaborations;
therefore, these findings should d be considered in combination with the professional opportunities
construct.

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Creativity

Increased Creativity

Exposure to other artists’ performances and
Key Finding: Artists believed international
focused time inspired creativity in first-time and
festivals contributed to their overall creativity,
including
the following:
repeat artist participants. First-time artists were
 Incorporating new elements into their
exposed to new types of performance (i.e.,
performances
instruments, dance movements, etc.) and

Reflecting on their artistic process
diversified their skills to integrate the new
 Refining their artistic process
elements into their future performances. First Identifying underlying commonalities
time artists noted that the focused time afforded
 Being exposed to new art forms
during festivals and associated workshops allowed
 Using creativity to engage audiences
artists to reflect on artistic skills, newly learned
skills, and (more generally) on their artistic
processes. First-time artists noted difficulty disentangling the continuous growth and development of
their creativity from the specific creative changes that resulted from the USAI-sponsored festival.
Overall, participating in festivals helped all artists conceptualize their artistry and future iterations of
their work. Repeat artists described the festival experience as “immersive,” or being constantly
surrounded by artists and performances, which was inspiring for generating new ideas for their own
performances. First-time artists experienced increased confidence in their own creative ability and
authority after participating in the festival.
Repeat artists spoke specifically about the creativity required to engage culturally diverse audiences and
audiences without common languages. Repeat artists recounted the importance of interacting with local
artists and people in informal settings (i.e., sharing a meal) to understand the culture and identify
underlying “human universals” that translated across cultures. Artists then leveraged the universals to
connect with new and diverse audiences during performances.

Key Takeaways



Exposure to new ideas and artistic practices sparked creativity in artists, which artists leveraged to
refine their own practices. Artists used time during festivals to consider and reflect on their artistic
practices while being surrounded by other artists and performances.
Artists leveraged their creativity in engaging with new and foreign audiences and learned how to
connect with audiences through shared values. These findings expand indicators identified in the
literature scan and should, therefore, be considered for inclusion in the survey.

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Cultural Reflection
Increased Cultural Reflection

Generally, artists believed cultural reflection
closely tied to creativity and artistic exchange.
Key Finding: Artists closely related cultural
First-time artists noted an openness to
reflection to increasing creativity, as they felt
inspired to incorporate new elements into their
understanding, experiencing, and integrating new
art performance, including:
cultures into their personal perspective and
 Understanding new and diverse cultures
professional practices. First-time artists also
 Experiencing new and diverse cultures
expressed increased interest in local and regional
 Incorporating culturally informed arts into
dance styles, songs and genres, and musical
their artistic practices
instruments, and integrated these elements into
 Understanding how performances translate
their future performances to celebrate the host
across cultures
culture and what they experienced during the
 Initiating exchanges with artists from different
cultures
festival. First-time artists also came to understand
how U.S.-based stories presented in performances
translated across cultures. Repeat artists
described ongoing relationships with international artists as facilitators of formal and informal ongoing
artistic exchanges, including social media followings, workshop invitations, and hosting international
artists in the United States.

Key Takeaways




Artists believed cultural reflection closely tied to their increasing creativity, based on their festival
experiences. Artists did not indicate festival attendance influenced their tolerance of other cultures,
nor did it influence their willingness to discuss their own beliefs. According to artists, increased
cultural reflection encompassed their art practices and specific interactions with artists and the
audiences during performances.
Compared to the findings of the literature scan, USAI artists had a relatively limited discussion of
how participating in the USAI program influenced their cultural reflection. Therefore, we suggest a
more narrow and refined definition of the construct.

Identity as an Artist
Repeat artists described the initial international performance and trip as a way to “get their feet wet”
with international festivals, which helped establish their identities as artists within the international
community of artists. Both repeat and first-time artists acknowledged receiving USAI funding as a form
of perceived legitimacy for their practice, which helped establish their presence in the international
festival circuit and artist community.
Attending international festivals and performances allowed repeat artists to have a better
understanding of how American arts are unique. One artist found the comparison of U.S. music styles to
international music styles helpful in understanding their art within the larger field, along with what types
of art exist. Similarly, another repeat artist felt that exposure to new cultural and artistic practices
granted them a better understanding of how their art form fits into the larger field, as well as
possibilities for elements that the artists had not considered incorporating into their art previously.

13

Overall, exposure to the cultural and regional
variances of art forms gave repeat artists
perspective on how their art fit into the larger
discipline, spanning locations and cultures. Artists
felt that festival experiences were instrumental in
understanding the possibilities of their art
practices, as well as differences and similarities
between U.S.-based arts and arts abroad. Artists
agreed international festival attendance and
performances played a substantial role in
developing and validating artists’ identities and
their belonging to their respective fields, based on
their increased understanding of the larger arts
scene.

Improved Identity as an Artist
Key Finding: Artists discussed positive changes
to their identities as artists, resulting from their
participation in a USAI-sponsored festival,
including the following:





Establishing their identity as international
artists
Validating their identity as international artists
Understanding how their art fits into the field,
outside of the United States
Understanding how their art contributes to the
larger field

Key Takeaways


Through international festivals, artists gained stronger identities as international artists and
understanding of how they contribute to their fields. Artists explored what it means to be
international artists and gained perspective on the possibilities and variances of their art forms.
These findings align with and build on the literature scan findings.

RECOMMENDATIONS
Based on the focus group findings, we detail a list of suggested revisions to the professional
development constructs identified from the literature scan (Task 3) in Appendix E. Overall, we suggest
expansion of professional networks, reputation as an artist, professional opportunities, professional
skills and learning, and identity as an artist. For entrepreneurialism and creativity, we suggest narrowing
and refining the indicators. The suggested revisions of these constructs will aid in the alignment of
survey indicators and artists’ conceptions with the constructs based on their USAI program experiences.

14

APPENDIX A. DETAILED METHODS
The purpose of the focus group discussions was to collect rich qualitative data on the professional
outcomes from the artists themselves, to gain a deeper understanding of how the constructs specifically
apply to the USAI artists’ experience, and to understand how these experiences and conceptions vary
from the findings of literature. Below, we detail the steps taken to sample for and execute the focus
groups. To do this, 2M planned and conducted one focus group dedicated to artists who received USAI
funding one time (i.e., first-time grantees) in the last 5 years and one focus group for artists who
received funding multiple times (i.e., repeat grantees).

Participant Recruitment
To select focus group participants, 2M first developed criteria to guide the selection of potential
participants. 2M aimed to recruit diverse participants, representative of the program grantees. Criteria
included the following:
Representation from all six disciplines as defined by the USAI program (dance, music, theater,
folklife/traditional arts, and multidisciplinary), with relative weighting similar to that of the
sample’s population
 Roughly equal representation from the following five race/ethnicity groups: white, black/
African American, Hispanic/Latino, no single group, and other (Asian, American Indian/Alaska
Native, or Native American/Pacific Islander)
 At least one artist who attended a festival located in each of the following areas: Europe,
Western Asia, Eastern Asia, Africa, Central/South America, and Canada/Australia/New Zealand
 At least five artists from a rural or smaller city context
Using the 2014–2018 USAI program roster of grantees, 2M sampled an initial 27 first-time and 27 repeat
grantees based on these criteria and the Arts Endowment’s recommendations for inclusion. 2M
developed communication materials (Appendix B) to contact and recruit artists. Following the Arts
Endowment’s approval of these materials, the Arts Endowment sent initial introduction emails to the
grantees, explaining the study purpose and inviting them to participate. 2M then followed up with one
round of emails and phone calls to recruit artists and record their availability using a Doodle poll. To
bolster the response, 2M and the Arts Endowment continued recruitment of a second batch of 20 firsttime grantees. Throughout the recruitment process, 2M encountered challenges directly communicating
with and recruiting artists versus other administrative personnel, who were commonly listed as the
points of contact for the grant. Ultimately, 2M successfully recruited five first-time artists and five
repeat artists to participate in the focus groups. 1 In Table 2, we present the characteristics of focus
group participants.


1

One repeat artist accepted the invitation but did not attend the focus group; initially, six repeat artists were expected to
participate.

15

Table 2. Characteristics of Focus Group Participants
Race/Ethnicity
Alaskan Native/American Indian
Black/African American
Hispanic
White
No Single group
Artistic Discipline
Dance
Folklife/Traditional Arts
Music
Theater
Multidisciplinary
Rural/Urban Context
Rural or less urban
Urban
Festival Locations

First-Time Artists

Repeat Artists

1
1
0
2
1

0
0
1
2
2

1
1
1
0
2

1
0
1
2
0

3
2

0
5

Norway
South Africa
South Korea
Turkey
Uganda

Argentina
China
Cuba
Ecuador
France
Germany
Ireland
Japan
Netherlands
Portugal
Singapore
Spain
Taiwan

Focus Groups
Following recruitment, 2M sent confirmation emails to all focus group participants 10 days before the
focus group was scheduled. The emails were tailored to each participant and contained information
about their USAI award(s) to help participant recollection. To obtain additional permissions, 2M
deployed reminder phone calls and emails, as needed, to obtain participants’ consent to record and to
maintain confidentiality.
In compliance with the Paperwork Reduction Act, 2M developed a discussion guide with distinct topics
for each 1-hour focus group, to ensure no more than nine participants were asked the same question.
The discussion final guides (Appendix D) prompted discussion of four constructs. Table 3 outlines the
constructs assigned to each focus group.

16

Table 3. Constructs Identified in Literature Scan for Focus Group Discussion
Focus Group 1 (First-Time Artists)
 New professional skills and learning
 Entrepreneurialism
 Increased creativity
 Increased cultural reflection

Focus Group 2 (Repeat Artists)
 Expanded professional networks
 Enhanced reputation
 Expanded professional opportunities
 Improved identity as an artist

For each construct, the 2M moderator led a discussion to elicit details on how participants understood,
experienced, and conceived of the topics and outcomes. Then, the moderator presented a suggested
definition of the construct based on literature scan findings (Appendix E) and directly asked participants
how this compared to their experiences. PowerPoint slides used during the focus group to display the
definitions can be found in Appendix C.
The week of August 12, 2019, 2M held one focus group with first-time artists and a second focus group
with repeat artists. Each focus group discussion lasted 1 hour, and all participants except one
participated via video. 2M staff audio-recorded the focus group discussions, and a 2M research assistant
took notes.

Data Analysis
To analyze the focus group data, 2M used a two-step approach to identify themes within each of the
eight constructs. First, 2M organized the data by construct. In some instances, both first-time and repeat
artists discussed ideas relating to the same construct as the conversation naturally evolved; in these
instances, data from both focus groups were combined under the applicable construct, and the
respondent type was noted for comparison. 2M deductively applied the “parent” codes from the
codebook (Appendix F) to initially organize the data by construct. 2M then examined the data within
each parent code to identify emerging themes, or inductive codes, which are represented as “child”
codes in the codebook. These data were synthesized to provide an overview of how artists
conceptualize each construct and to identify key differences and alignments with the findings of the
literature scan.

17

APPENDIX B. COMMUNICATION MATERIALS
Invitation Email From the Arts Endowment
To: [EMAIL]
From: ochoag@arts.gov
CC: nmorrissey@2mresearch.com; robyn@midatlanticarts.org; shafferp@arts.gov
Subject: Focus Group Invitation for USArtists International

Dear [NAME]:
The National Endowment for the Arts (NEA) and its partners have contracted with 2M Research to
conduct a focus group with past USArtists International (USAI) grantees to learn about the artists’
perspectives of the program. NEA and 2M Research are inviting performers like you to participate in a
focus group with your USAI peers to discuss your program experiences, specifically the impacts and
benefits of the program for participating artists. The focus group will provide valuable information to
inform the development of a survey to assess the impact of the USAI program on artists’ careers. If you
have received this email and are not the artist grantee, please forward this email to the respective
person for their review and consideration and let us know you have done so. Your input is valuable to
the program’s overall and continued success USAI in supporting artists’ professional growth.
The focus group will last approximately 60 minutes and will be conducted virtually for your convenience.
Participation in the focus group is completely voluntary and will not impact any present or future grant
applications, contract proposals, or cooperative agreement proposals.
The focus group will be held at a time that is convenient for you. If you are interested in participating,
please respond to Natalie Morrissey at nmorrissey@2mresearch.com to be considered for participation
in the focus group and complete the following Doodle Poll to indicate your availability: [LINK]
Please do not hesitate to contact me or Natalie Morrissey with any questions. We sincerely hope that
you will volunteer to participate in this important study.
Sincerely,

Guiomar Ochoa
International Grants Specialist
National Endowment for the Arts
400 7th Street SW | Washington, DC 20506
ochoag@arts.gov

18

Follow-Up Email Sent by 2M
To: [EMAIL]
From: nmorrissey@2mresearch.com
CC: ochoag@arts.gov
Subject: Re: Focus Group Invitation for USArtists International

Dear [NAME]:
The National Endowment for the Arts (NEA) and its partners have contracted with 2M Research to
conduct a focus group with past USArtists International (USAI) grantees and thereby learn about the
artists’ perspectives on the program. On [date email sent from NEA], NEA invited you to participate in a
virtual focus group with your USAI peers to discuss the benefits you experienced from the program.
Please let us know by replying to this email by [DATE] and by completing this Doodle Poll ([LINK]) if
you are interested in participating in the focus group.
Your input is valuable to the program’s overall and continued success USAI in supporting artists’
professional growth. We sincerely hope that you will volunteer to participate in this important study.
Please do not hesitate to contact me at nmorrissey@2mresearch.com with any questions, or you can
contact the NEA International Grants Specialist, Guiomar Ochoa, at ochoag@arts.gov.
Sincerely,

Natalie Morrissey, MPH, MS
Public Health Research Analyst | 2M Research
a: 1521 N Cooper St, Suite 600, Arlington, TX 76011
o: 817-856-0898 | f: 866-250-2447 | c: 817-422-4542
nmorrissey@2mresearch.com | www.2mresearch.com
An SBA 8a & HUBZone Firm

19

Follow-Up Call from 2M
[If live respondent] Hi, this is [NAME] from 2M Research. I’m calling regarding the upcoming focus
group to be held on behalf of the National Endowment for the Arts (NEA). Am I speaking with [NAME]?
[If no] Okay, is there another number I can reach [NAME] at, or should I call back at a different
time? [Recruiter will attempt to identify alternative contact information/instructions.]
[If yes] I’m calling to follow up on a focus group invitation sent by the NEA on [DATE]. The focus group
will be discussing professional benefits you experienced after participating in the USArtists International
program; your insight will help inform a future NEA survey of grantees. You will not need to prepare any
materials in advance. Would you be interested in participating?
[If no] Okay. Do you have any questions about the study? [Recruiter will address concerns and
attempt conversion.] Thank you for your consideration. [End call]
[If yes, Recruiter will note availability in Doodle poll or ask respondent to do so] Thank you for
your availability. We will follow up with an email with next steps. [End call]
____________________________________________________________________________________
[If call goes to voicemail] Hi, this is [NAME] from 2M Research. I’m calling regarding a focus group for
USArtists International held on behalf of the National Endowment for the Arts the week of [DATE].
Please call me back at [TELEPHONE NUMBER] or email me at [EMAIL] for more details.

20

Confirmation Sent by 2M
To: [EMAIL]
From: nmorrissey@2mresearch.com
Subject: Upcoming Focus Group Invitation for USArtists International

Dear [NAME]:
Thank you for agreeing to participate in the USArtists International (USAI) focus group conducted on
behalf of the National Endowment for the Arts (NEA) and its partners. The focus group will be held on
[DATE] and [TIME], and you will receive a meeting invitation shortly. Please let us know immediately by
replying to this email if you are unable to attend at the designated date and time.
Your input is valuable to the program’s overall and continued success USAI in supporting artists’
professional growth. During the focus group, we will be discussing the benefits of your participation in
the USAI-funded festivals you attended, which may include:
•

[FESTIVAL NAME], [COUNTRY], [YEAR]

We look forward to learning more about your experiences and appreciate your participation in this
important study. Please do not hesitate to contact me with any questions.
Sincerely,

Natalie Morrissey, MPH, MS
Public Health Research Analyst | 2M Research
a: 1521 N Cooper St, Suite 600, Arlington, TX 76011
o: 817-856-0898 | f: 866-250-2447 | c: 817-422-4542
nmorrissey@2mresearch.com | www.2mresearch.com
An SBA 8a & HUBZone Firm

21

Declination Sent by 2M
To: [EMAIL]
From: nmorrissey@2mresearch.com
Subject: Focus Group for USArtists International

Dear [NAME]:
Thank you for agreeing to participate in the USArtists International (USAI) focus group conducted on
behalf of the National Endowment for the Arts (NEA) and its partners. We have selected all focus group
participants at this time, and if needed, will reach out to you by [DATE] to notify if you have been
selected at that point.
Sincerely,

Natalie Morrissey, MPH, MS

Public Health Research Analyst | 2M Research
a: 1521 N Cooper St, Suite 600, Arlington, TX 76011
o: 817-856-0898 | f: 866-250-2447 | c: 817-422-4542
nmorrissey@2mresearch.com | www.2mresearch.com
An SBA 8a & HUBZone Firm

22

Reminder Call for Focus Group
[If live respondent] Hi, this is [NAME] from 2M Research. I’m calling regarding the upcoming focus
group to be held on behalf of the National Endowment for the Arts. Am I speaking with [NAME]?
[If no] Okay, may I speak with [NAME]?
[If no] Is there another number I can reach [NAME] at, or should I call back at a different time?
[If yes] I’m calling to remind you of the upcoming focus group for the USArtists International Program on
[DATE] at [TIME]. Have you had a chance to open the meeting invitation?
[If yes or no] We will be using Zoom for the focus group, as indicated in the invitation. To avoid
any technical issues or delays in getting the focus group started, we suggest opening the
invitation to test your connection prior to the focus group.
[As needed] If you encounter any issues, you can reach me at [TELEPHONE NUMBER].
[If issues encountered, Recruiter will attempt to troubleshoot issue by verbally walking
respondent through the log-in process. If needed, the recruiter will instruct the respondent to
join the focus group by phone]
The focus group will be discussing professional benefits you experienced after participating in the
USArtists International program. Your input will inform a future NEA survey of grantees. You will not
need to prepare any materials in advance. We will ask permission to record the session to help us
capture your thoughts. Do we have your permission to record?
[If no] Okay, do you have any concerns about the recording? [Recruiter will address concerns,
attempt conversion, and confirm permission to record]
[If hard refusal] Okay, I understand. Unfortunately, we require all participants’ permission to
record the focus group. We appreciate your willingness to participate. Thank you. [End call]
[If yes] Okay, great. To encourage open and honest responses, we also ask that all participants keep the
information we discuss in the focus group private and not share the information outside of the group.
Do you agree to keep the information discussed during the group private?
[If no] Okay, do you have any concerns about the group? [Recruiter will address concerns,
attempt conversion, and confirm agreement]
[If hard refusal] Okay, I understand. Unfortunately, we require all participants’ agreement. We
appreciate your willingness to participate. Thank you. [End call]
[If yes] Do you have any additional questions?
[If no] We appreciate you taking the time to participate in this important study. Please feel free
to reach out as needed. Thank you. [End call]
[If yes, Recruiter to address questions or concerns and end call]
[If call goes to voicemail] Hi, this is [NAME] from 2M Research. I’m calling regarding the upcoming focus
group for USArtists International to be held on behalf of the National Endowment for the Arts on [DATE]

23

at [TIME]. Please call me back at [TELEPHONE NUMBER] or email me at [EMAIL to confirm your
participation and to receive more details.

24

APPENDIX C. FOCUS GROUP DISCUSSION POWERPOINT
PRESENTATION

25

26

27

28

29

30

31

32

APPENDIX D. FOCUS GROUP DISCUSSION GUIDES
Focus Group Discussion Guide
VERSION: REPEAT PARTICIPANT

[Instructions: On the web platform, the moderator will display a slide that shows the appropriate
term under each section of the guide (e.g., professional networks, reputation). For the final question
in each section, the moderator will display the definition of the concept for the participants to review
and discuss.]

Introduction
Thank you for agreeing to participate in this focus group. As you know, the National Endowment for the
Arts (we will refer to this as NEA) and its partners contracted our company, 2M Research, to conduct
this focus group. My name is [moderator name], and I have [notetaker name] on the line to help take
notes. Our discussion today will be focusing on professional benefits you experienced as a result of your
participation in the USArtists International program. We’ll refer to the program as USAI during our
discussion today. Please remember:
Your participation is voluntary.
The focus group will last up to 60 minutes.
Your insights are valuable and will not be attributed to you when we share this information with
NEA; neither will your decision to participate. Our discussion today will not impact any future
opportunities you may have with NEA or its partners.
• We want to have an open and frank discussion today and are interested in hearing your honest
responses, good or bad. To encourage an open discussion, we ask that the information shared
during the discussion today be held in confidence and not be shared with others outside of the
group.
• Our conversation will be recorded to help us capture your thoughts, examples, and insights.
Do you have any questions before we get started?
•
•
•

[Moderator to lead round-robin introductions of all participants, including their name and artistic
discipline]

Background
Today, we will be discussing four concepts to better understand how they relate to the professional
benefits you experienced as a result of your participation in the USAI program. These concepts include
professional networks, reputation as an artist, professional opportunities, and identity as an artist. For
each of the four concepts, we will discuss what you think of the concept and how your experience with
the program aligns or differs from our suggested definition of the concept. Since you have participated
in the program for multiple years, we will be asking about your overall experience across years. Your
insights will help inform the development of a survey for your USAI peers that will capture the program’s
impact on artists’ professional growth.

33

Construct #1: Expanded Professional Networks
First, I’d like for you to think about the professional contacts and networks you gained or strengthened
by participating in the USAI program.
(1) Please describe how participating in USAI impacted the number and strength of your professional
networks.
Probe: How would you characterize the professional contacts and networks you gained by
participating in USAI? Examples include artistic collaborations; individual partnerships;
institutional partnerships; and new, existing, or strengthened partnerships.
Probe: What types of contacts did you make by participating in the USAI program? Examples
include partnerships with artist support agencies, funders, and non-arts organizations.
(2) From our research, international exchange artists experienced an increased number of
professional contacts and relationships with other artists, individuals, and organizations. How
does this concept of “expanded professional networks” differ from or align with your experiences
with networking in the USAI program?

Construct #2: Expanded Professional Opportunities
The next topic I’d like to discuss is how participating in USAI impacted your professional opportunities.
(3) Please describe how participating in USAI impacted the number of professional opportunities
available to you.
Probe: What type of opportunities became more/less available? Examples include funding,
professional advancement, and invitations for performance/exhibition.
(4) According to our research, international exchange artists experienced an increased number of
professional opportunities ranging from job advancement to increased revenue or funding,
invitations and bookings, and return trips to host countries. How does this concept of “expanded
professional opportunities” differ from or align with your experiences in the USAI program?

Construct #3: Enhanced Reputation as an Artist
The next topic I’d like to discuss is your reputation following your participation in the USAI program.
(1) Please describe how participating in USAI impacted your reputation as an artist.
Probe: If you received awards or other recognition (i.e., media coverage, criticism, interview
requests) while participating in the USAI program, how did this impact your reputation?
Probe: How has your reputation changed among other artists? How has your reputation changed
within the festival network? How has your reputation changed from the public’s perspective?
(2) According to our research, international exchange artists experienced improved reputations as
artists among their peers and the public by receiving awards or increased media coverage and
by gaining leverage within the festival network. How does this concept of “improved reputation
as an artist” differ from or align with your experiences in the USAI program?

34

Construct #4: Identity
The final topic I’d like to discuss is your identity as an artist after participating in the USAI program.
(3) How did participating in the USAI program affect how you see yourself as an artist?
Probe: How did your sense of purpose as an artist or sense of belonging change?
(4) According to our research, international exchange artists experienced stronger identities as
artists, including an increased sense of belonging to artist and professional communities and
increased understanding of how their art fits within the larger field.. How does this concept of a
“stronger identity as an artist” differ from or align with your experiences in the USAI program?

Construct #5: Other
(5) As an artist who received the USAI award multiple times, what other professional development or
growth did you experience from participating in the USAI program?
Probe: Can you please provide an example?

Closing
We’re just about done with this session. As we wrap up, is there anything else you’d like to bring up that
we haven’t talked about today?
If there’s anything you would like to add after our discussion today, please email me at
nmorrissey@2mresearch.com. Thank you again for your participation.

35

Focus Group Discussion Guide
VERSION: FIRST-TIME PARTICIPANT

[Instructions: On the web platform, the moderator will display a slide showing the appropriate term
under each section of the guide (e.g., professional networks, reputation). For the final question of
each section, the moderator will display the definition of the concept for the participants to review
and discuss.]

Introduction
Thank you for agreeing to participate in this focus group. As you know, the National Endowment for the
Arts (we will refer to this as NEA) and its partners contracted our company, 2M Research, to conduct
this focus group. My name is [moderator name], and I have [notetaker name] on the line to help take
notes. Our discussion today will be focusing on professional benefits you experienced as a result of your
participation in the USArtists International program. We’ll refer to the program as USAI during our
discussion today. Please remember:
Your participation is voluntary.
The focus group will last up to 60 minutes.
Your insights are valuable and will not be attributed to you when we share them with NEA;
neither will your decision to participate. Our discussion today will not impact any future
opportunities you may have with NEA or its partners.
• We want to have an open and frank discussion today and are interested in hearing your honest
responses, good or bad. To encourage an open discussion, we ask that the information shared
during the discussion today be held in confidence and not be shared with others outside of the
group.
• Our conversation will be recorded to help us capture your thoughts, examples, and insights.
Do you have any questions before we get started?
•
•
•

[Moderator to lead round-robin introductions of all participants, including their name and artistic
discipline]

Background
Today, we will be discussing four concepts to better understand how they relate to the professional
benefits you experienced as a result of your participation in the USAI program. These concepts include
professional skills and learning, entrepreneurialism, creativity, and cultural reflection. For each of the
four concepts, we will discuss how you think of the concept and how your experience with the program
aligns or differs from our suggested definition of the concept. Your insights will help inform the
development of a survey for your USAI peers that will capture the program’s impacts on artists’
professional growth.

Construct #1: New Professional Skills
First, I’d like for you to think about the professional skills and learning you experienced from
participating in the USAI program.

36

(1) How did participating in USAI impact your overall professional skills as an artist?
Probe: Please describe what specific professional skills you gained or strengthened by
participating in the USAI program. Examples include language skills, increased understanding of
international travel/logistics, business-related skills such as presentation or public speaking
techniques or marketing and management skills, artistic skills improved through attending
workshops, and computer or technology skills.
(2) From our research, international exchange artists gained professional skills ranging from
language skills to business and presentation skills, artistic skills, and technology skills. How does
this concept of “new professional skills and learning” differ from or align with your experiences in
the USAI program?

Construct #2: Entrepreneurialism
The next topic I’d like to discuss is your sense of entrepreneurialism following participation in the USAI
program.
(3) How did participating in USAI influence your ability to create or seek out new business or
professional opportunities for yourself?
Probe: What types of entrepreneurial opportunities did you pursue? Examples include assuming
leadership within communities/organizations and initiating new projects, businesses, or
partnerships.
Probe: Who was involved in these opportunities? Examples include peers, community members,
and business partners.
(4) According to our research, international exchange artists experienced an increased sense of
entrepreneurialism, including working to implement or create opportunities for themselves and
others. How does this concept of “entrepreneurialism” differ from or align with your experiences
in the USAI program?

Construct #3: Increased Creativity
The next topic I’d like to discuss is how participating in USAI impacted your artistic creativity.
(5)

Please describe how participating in USAI impacted your creativity as an artist.
Probe: How did your artistic and creative ideas change after participating in USAI? Examples
include diversity of ideas, frequency, degree of novelty (i.e., how novel the ideas are), and
increased risk-taking in your artistic practice.
Probe: How did participating in USAI impact your creativity in problem solving? Examples include
innovation, understanding that multiple solutions exist, and identifying new or underlying links
between ideas.

(6)

According to our research, international exchange artists experienced increased incorporation
of new ideas and innovative ways of thinking into their artistic practice. How does this concept
of “increased creativity” differ from or align with your experiences in the USAI program?

37

Construct #4: Cultural Reflection
The final topic I’d like to discuss is your reflection of your cultural experience or experiences after
participating in the USAI program.
(7) How did your understanding of new and diverse cultures change after your participation in the
USAI program?
Probe: How did you integrate new ideas or values in your artistic practice?
Probe: How did you change your artistic practice to better reflect or celebrate a particular cultural
heritage?
(8) According to our research, international exchange artists experienced increased incorporation
and reflection of new and diverse cultural perspectives in their artistic practice. How does this
concept of “cultural reflection” as an artist differ from or align with your experiences in the USAI
program?

Construct #5: Other
(9)

As an artist who has participated in the USAI program one time in the past 5 years, what other
professional development or growth did you experience from participating in the USAI program?
Probe: What is an example of the professional development or growth you experienced?

Closing
We’re just about done with this session. As we wrap up, is there anything else we should discuss relating
to your experience with the USAI program and your professional growth?
If there’s anything you would like to add after our discussion today, please email me at
nmorrissey@2mresearch.com. Thank you again for your participation.

38

APPENDIX E. RECOMMENDATIONS FOR SURVEY CONSTRUCTS
AND INDICATORS
Table 4 below indicates the suggested changes to the constructs and indicators of artists’ professional
growth and development following the USAI program. The suggestions are based on the findings from
the focus groups with USAI artists and build on the initial findings of the literature scan (Task 3). The
findings are color coded into two categories:


Constructs highlighted green in the table below indicate the initial literature scan definition and
indicators align with artists’ experiences, and additional constructs are suggested to expand the
indicators; these suggestions refine and expand the scope of the construct and are detailed in
the “Suggested Changes” column.



Constructs highlighted yellow in the table below indicate suggested modifications to the
literature scan indicators based on artists’ experiences; these modifications refine and narrow
the scope of the constructs and are detailed in the “Suggested Changes” column.

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Table 4. Suggested Changes to Survey Constructs and Indicators
THEME
Professional Growth:
constructs that
relate to the
professional growth
of artists

CONSTRUCT
Expanded professional
networks in the arts
and/or non-arts sectors:
increased number of
professional
contacts/relationships
that an artist has

INDICATORS IDENTIFIED IN LITERATURE
• Making more contacts with other artists
• Forming close relationships with other artists
• Collaborating with international partner organizations
• Helping connect other artists to contacts in your
network
• Maintaining professional contacts after the program
ends
• Networking with artist support agencies and artist
services
• Developing new partnerships after the program ends
• Collaborating with artists to produce more art
• Engaging wider networks to financially back artists
• Strengthening existing artist networks

Enhanced reputation in
the arts and/or non-arts
sectors: development of a
positive reputation; an
artist becomes more
“known” in the art world

•
•
•
•
•
•
•
•

Expanded professional
opportunities in the arts
and/or non-arts sectors:
increased number of
opportunities available to
artists based on success

•
•
•
•

Improving reputation among peers
Improving reputation among public
Winning awards or other recognitions
Receiving more art criticism
Receiving more media coverage
Participating in media interviews
Gaining “pull” within the negotiations for festival
performances
Gaining influence within the festival circuit

Obtaining promotions/job advancement
Increasing revenue
Receiving new or sustained funding
Receiving more opportunities to show work in new
countries

SUGGESTED CHANGES
Based on focus group data, 2M suggests
expanding this construct by:
• Revising “collaborating with international
partner organizations” to “collaborating
with foreign governmental organizations
and non-governmental organizations
(NGOs)”
• Adding “networking with regional artsorganizations”
• Adding “networking with industry and
festival stakeholders (e.g., producers)”
• Adding “hosting international artists in the
United States”
• Adding “continuing exchange with
international artists”
Based on focus group data, 2M suggests
expanding this construct by:
• Revising “receiving more media coverage”
to “receiving more domestic and
international media coverage”
• Adding “increasing legitimacy (i.e., being
perceived as more experienced or as an
expert in the field) within international arts
communities”
• Adding “increasing domestic and
international collaborator interest”
Based on focus group data, 2M suggests
expanding this construct by:
• Adding “extending the length of USAIsponsored performances domestically and
internationally through additional
international or domestic bookings”

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THEME

CONSTRUCT

INDICATORS IDENTIFIED IN LITERATURE
• Obtaining more invitations and bookings for
performances
• Making return trips to the host country to show artwork

New professional skills
and learning in the arts
and/or non-arts sectors:
learning new skills (new
technologies, new
languages, management
skills, etc.)

•
•
•
•
•
•
•
•
•

Artistic Practice:
constructs that
relate to changes or
improvements in
artistic practice

Entrepreneurialism in the
arts and/or non-arts
sectors: working to
implement or create new
opportunities for oneself,
other artists, or one’s
community
Increased creativity:
incorporation of new
ideas and innovative ways
of thinking into artistic
practice

•
•
•
•
•
•
•
•
•
•
•
•

Learning another language
Understanding of travel regulations such as Visa,
import/export, etc.
Learning management skills (e.g., financial
management, logistics)
Learning marketing skills (e.g., self-promotion, access to
funding, identifying market opportunities)
Learning new computer applications
Learning how to use the internet for research
Learning public speaking skills
Gaining new artistic skills
Learning how to use technology to share art
performance
Learning to use technology devices to create art
Attending lessons/classes to develop artistic skill
Assuming a leadership role in your community (i.e.,
network of artists or collaborators)
Organizing or initiating new projects
Establishing a new business or organization
Learning how to lead a team and motivate others
Being self-employed
Incorporating new or novel ideas more frequently
Incorporating more diversity in the types of ideas
Being exposed to various art forms and new ideas
Taking more risks in artistic practice
Increasing ability to discover an underlying link that
connects disparate concepts

SUGGESTED CHANGES
• Adding “attracting domestic and
international collaborator interest in
partnerships”
• Adding “understanding the market for
artists’ art”
• Adding “being hired as teachers following
performances”
Based on focus group data, 2M suggests
expanding this construct by:
• Adding “learning or augmenting
teaching/pedagogical skills”
• Adding “learning new communication
skills”
• Adding “learning strategies to engage new
audiences”
• Adding “expanding repertoire”
• Adding “increasing understanding of
application requirements (i.e., grant,
festival)”

Based on focus group data, 2M suggests
narrowing this construct by:
• Excluding “learning how to lead a team and
motivate others”
•

Based on focus group data, 2M suggests
expanding this construct by:
• Adding “reflecting on artistic practice”
• Adding “refining their artistic process”
• Adding “finding solutions to engage new
and diverse audiences”

41

THEME

CONSTRUCT

Increase cultural
reflection: incorporation
and reflection of new and
diverse cultural
perspectives in artistic
practice

Personal growth:
constructs that
relate to the
personal growth of
artists

Improved Identity:
developing an identity as
an artist and a sense of
belonging within a
community of artists

INDICATORS IDENTIFIED IN LITERATURE
• Understanding that there can be more than one
solution to a problem
• Exchanging ideas and dialoging with artists from
different cultures
• Developing a new understanding of diverse cultures
• Increasing acceptance among a diverse audience
• Increasing knowledge of the diversity of cultures
• Being tolerant of others different than you
• Increasing willingness to discuss one’s beliefs and values
• Performing art to celebrate a particular cultural heritage

•
•
•

Understanding how my artwork fits within the larger
field
Building a sense of purpose and identity as an artist
Building a sense of belonging to a professional
community

SUGGESTED CHANGES

Based on focus group data, 2M suggests
narrowing this construct by:
• Excluding “being tolerant of others
different than you”
• Excluding “increasing willingness to discuss
one’s beliefs and values”
• Excluding “increasing acceptance among a
diverse audience”
• Adding “understanding how art works may
translate across different cultures and
languages”
Based on focus group data, 2M suggests
expanding this construct by:
• Revising “understanding how my artwork
fits within the larger field” to
“understanding how my artwork fits into
the field outside of the United States,
including how it contributes to the field”
• Revising “building a sense of purpose and
identity as an artist” to “building a sense of
purpose as an international artist” and
“building a sense of purpose as an artist”
• Adding “validating my identity as an
international artist”

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APPENDIX F. CODEBOOK FOR DATA ANALYSIS
Below, we present the hierarchical coding structure used to organize the focus group data. The first level
of codes (1–8) represent the “parent” codes, which reflect the eight constructs identified in the
literature scan and which were applied in a deductive manner. The second level of codes, the “child”
codes (a–e), represent the inductive themes that emerged from the data during analysis.
1. Professional Opportunities
a. Artistic opportunities
b. Booking opportunities
c. Teaching opportunities
d. Impact/benefit of expanded opportunities
2. Professional Skills/Learning
a. Engaging audiences
b. Overcoming language barriers
c. Practical successes
d. Teaching art
3. Entrepreneurialism
a. Approach to collaborations/partnerships
b. Limitations of funding influence
4. Creativity
a. Methods of increasing creativity
b. Types of creativity garnered
5. Cultural Reflection
a. Cultural experiences/exchange
b. Reflections through changes in creativity
6. Professional Networks
a. Networking with other artists
b. Networking with arts organizations
c. Networking with other organizations
d. Benefits of in-person networking

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e. Impact/benefits of expanded networks
7. Reputation among Others
a. Methods for improving reputation
b. Changes to public reputation
c. Changes to artistic reputation
d. Impact/benefit of improved reputation
8. Identity as an Artist
a. Changes to self-identity
b. Changes to identity within field

44