Jaqui Yep, arts administrator for New Zealand Opera, at the Aotea Centre in Auckland. Photo / Graeme Sedal
THE QUALIFICATION
What: Master of Arts (Arts Administration)
Where: Whitecliffe College of Arts & Design
Contact: 0800-88-4-ART (0800-88-4-278) or (09) 309-5970
Email: here
Web: www.whitecliffe.ac.nz
Pre-requisites: Relevant degree or relevant work experience International students need IELTS grade 7.5
Next intake: Mid-July - applications close mid-June
2007 tertiary fees: $6875
Starting salary: $35-$40K
Whitecliffe's arts administration course bridges the worlds of arts and business. The master's level course is low residency, which means students don't attend campus full time but do a mix of online home-based study and 17 intensive weekend seminars over two years.
The programme develops theoretical knowledge and
professional skills from an arts and business perspective and is aimed at those with an interest in theatre, film, visual arts, dance, galleries and community arts.
Students become involved in independent research projects, industry case studies and field-based internships.
Most continue employment while studying. There are two intakes a year with up to five students accepted per intake.
This is the only MA in arts administration in New Zealand.
THE GRADUATE
Jacqui Yep (36)
Office and projects administrator for The NBR New Zealand Opera (NZO)
Studying a Masters in Arts (Arts Administration) from Whitecliffe College of Arts & Design. To be completed in December.
I started studying at Whitecliffe at the beginning of 2006 and began at NZO soon after.
I originally applied for a part-time marketing role but was offered this full-time administration role because it fitted better with my study and experience.
Initially the job involved providing managerial assistance, box office support and general day-to-day office responsibilities.
Then my responsibilities increased and I now assist with projects, auditions and help the artistic administrator. My background was originally in forensic science and pharmaceuticals. During my OE in London I tried new roles that extended my skills into IT, marketing and events through organisations such as the BBC and community arts.
I became a jack of all trades, but realised I enjoyed working in the arts best.
After five years I returned to New Zealand and took a job in events with New Zealand Trade & Enterprise.
It was then I decided to specialise in arts administration.
I found the Whitecliffe course, left NZTE and applied for the NZO role to get work experience in a New Zealand arts industry. The Whitecliffe qualification helps me utilise my UK experiences and exposes me to the ways of New Zealand's arts industry.
The course provides up-to-date industry knowledge, and addresses local, national and international issues such as sponsorship, funding, marketing and audience development - all important issues for NZO.
Because it is low residency, I can work full time and study full time.
We attend monthly weekend seminars at Whitecliffe that include industry lecturers, guest speakers and industry visits.
Those weekends are action packed.
The course work is assignment-based. We should allow for around 20 hours study a week; I do much more.
You often find me in cafés at lunchtime with my readings. Despite the intensity, I am very motivated because it is practical and I can apply things as I go.
The one negative is that Masters' fees are expensive and pay in the arts is low. I took a pay cut moving from business to the arts world. I have a mortgage so I've got a student loan to cover the fees. But it is worth it.
THE EMPLOYER
Aidan Lang
General director of The NBR New Zealand Opera (NZO)
We have a core staff of 15 full-timers, with the work tempo accelerating when a production comes on.
A comparable company, such as the Welsh National Opera, has 50 staff.
We wanted someone full time who had lots of initiative.
We are a tightly structured unit with little leeway so it is really good to have someone like Jacqui, who is versatile and can put her hand to everything from marketing to accounting.
Her arts administration study adds to her value in our unit.
We have to apply very rigid business principles to what we do, but at the same time we need staff with a sympathy and understanding of the arts because the arts can't be driven solely by making money.
For example, putting more money into a production because something intangible is missing may not make sound business sense on the surface but, because our main role is to provide great works of opera, it will be the right decision even though we can't recoup the extra money.
I believe the course is producing good people.
It is a fantastic step for New Zealand to have such a course developing knowledge and skills of business and the arts.
Having well-trained people in all aspects of our organisation goes a long way to ensuring we do our best.
Unfortunately there are not many major art organisations in this country of a scale that demands full time staff in key positions.
