{"id":13636,"date":"2019-04-09T15:28:16","date_gmt":"2019-04-09T19:28:16","guid":{"rendered":"http:\/\/www.bu.edu\/artsadmin\/?page_id=13636"},"modified":"2021-04-21T12:57:32","modified_gmt":"2021-04-21T16:57:32","slug":"priya-krishnamoorthy-19-2","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/artsadmin\/alumni\/alumni-spotlight\/priya-krishnamoorthy-19-2\/","title":{"rendered":"Priya Krishnamoorthy (\u201919)"},"content":{"rendered":"

The following interview is posted with permission from ProFellow. View the complete article online: A Fully-Funded Graduate Degree in the US for Citizens of India: The Fulbright Nehru Master’s Fellowship.<\/a><\/p>\n

The Fulbright Nehru Master\u2019s Fellowship is for Indian citizens who have the equivalent of a U.S. bachelor\u2019s degree and three years of professional work experience. The fellowship, which lasts one or two years and is designed to promote cross-cultural relations between the US and India, provides funding to pursue a master\u2019s program at select U.S. colleges and universities in a variety of fields. At the end of the program, fellows return to India as leaders in their industries and contribute in new ways to their communities. The grant provides visa support, round-trip airfare, funding for tuition and fees, a stipend, and health insurance.<\/p>\n

We talked to Priya Krishnamoorthy, who recently graduated from the Arts Administration program at Boston University as part of a Fulbright Nehru Master\u2019s Fellowship, to learn more about the program and get some application tips.<\/p>\n

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Image credit: ProFellow. Priya Krishnamoorthy (standing, far right) with Fulbright Fellows from India and Pakistan at an Enrichment Seminar organized by the Fulbright Commission in Nashville, Tennessee.<\/h6>\n

1. What inspired you to apply for the Fulbright Nehru Master\u2019s Fellowship?<\/strong>
\nAfter having worked across diverse fields within the creative industries, I was convinced of the need for fresh perspectives, especially in the domain of arts, crafts, design, heritage, music, literature and even leisure in India. Despite my academic explorations and work on the ground, I felt that I lacked the knowledge and insights that could help me put in place well-informed innovations in the field of arts management.<\/p>\n

I was managing a social enterprise that worked with the handcrafted and artisanal in India when I applied for the Fulbright Nehru Master\u2019s Fellowship. I felt the need to contextualize and understand the gaps in the arts ecosystem that I was experiencing every day within the rigors of academia. I hoped that the opportunity would help me not only get a birds-eye view of the creative and cultural industries, but also gain access to tools that make effective arts management possible within any context.<\/p>\n

The Fulbright Nehru Master\u2019s Fellowship offers a rare opportunity for arts managers in India to gain the relevant skill-sets and draw from the best practices across borders through networking with peers, faculty, and alumni and bring back innovative ideas capable of bringing about large scale impact locally and nationally.<\/p>\n

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Image credit: Boston University Innovate @BU. Priya leading the first-ever Hult Prize on-campus event at Boston University.<\/h6>\n

2. What have you enjoyed most about your fellowship so far?<\/strong>
\nBeing part of the Fulbright community, an international network of passionate individuals, has been an enriching experience. It has been truly rewarding to meet, interact, connect, learn from and share a meal with scholars from all over the world coming from fields as diverse as History, Gastronomy, Public Health and Game Development. Today, I have friends from Argentina, Haiti, Germany, Morocco, Albania, Indonesia, Pakistan and many more countries. Their diverse worldviews continue to inform my own. This has been one of the highlights of my time as a Fulbright scholar in the US.<\/p>\n

As a student at Boston University (BU), I have found supportive mentors, professors and industry experts who have patiently guided my work and research. Most importantly they have instilled in me the value of critical inquiry, which is core to creating effective solutions. At BU, I found support to initiate and lead the first-ever on-campus event for the prestigious Hult Prize, a global challenge that aims to mobilize student change-makers and entrepreneurs to rethink the future of business and innovation. Because of my interest in sustainability models (particularly in the hand-worker economy and fashion), I ended up conceptualizing and leading a three-day event, called the Green Your Wardrobe weekend, as part of the annual Fashion Revolution Week in April 2018 with support from the BU Arts Initiative. I also acted as the Coordinator of the Global Bazaar, a curated showcase of artisan goods from international and immigrant communities, that was organized as part of the Global Music Festival 2018.<\/p>\n

My current interest lies in exploring research around barriers (particularly mindsets) to pursuing creativity as a career and the need to create inclusive ecosystems for the creative\/artistic talent in education within South Asia. I am currently pursuing an internship as part of my Post Degree Academic Training with the Partnerships teams at MIT Solve, a global marketplace for social impact ideas.<\/p>\n

The Fulbright India Master\u2019s Fellowship has offered an exciting opportunity to gain diverse perspectives on the strategic, hands-on management of the arts while being part of Boston\u2019s innovation ecosystem and the larger Fulbright community.<\/p>\n

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Image credit: Boston University Innovate @BU. Priya (far right) with the winners of the first-ever Hult Prize On-Campus event at Boston University.<\/h6>\n

3. What tips would you give others applying to the Fulbright Nehru Master\u2019s Fellowship?<\/strong>
\nThe Fulbright Nehru Master\u2019s Fellowship is geared towards Indian professionals with at least three years of experience in the areas of Arts and Culture Management including Heritage Conservation and Museum Studies; Economics; Environmental Science\/Studies; Higher Education Administration; International Affairs; International Legal Studies; Public Administration; Public Health; Urban and Regional Planning; and Women\u2019s Studies\/Gender Studies. Members of my cohort are incredibly passionate individuals with an established track record of working in one of the above areas, committed to adding value to their respective fields.<\/p>\n

The initial application is key. It is helpful to think through the personal statement and your study objective and seek recommendations from people who are well-versed with your work. The Fulbright Committee is looking for candidates who demonstrate a track record of excellence, the capacity for building global networks and the commitment to developing the chosen field of study in India. I believe my passion for new ideas and my ability to draw on my hands-on experiences as a grassroots-level practitioner in India while simultaneously taking a strategic view of the arts management ecosystem in India helped my application.<\/p>\n

Priya Krishnamoorthy is a story-teller, arts manager, bridge-builder, and a champion for all things artisanal. Originally from India, she recently graduated from the Arts Administration program at Boston University as part of a Fulbright Nehru Master\u2019s Fellowship. Priya holds an undergraduate degree in Political Science (St Xavier\u2019s College, Mumbai, 2002) as well as post-graduate diplomas in Broadcast Journalism (Asian College of Journalism, Chennai, 2004) and Arts Management (DakshinaChitra Museum, Chennai, 2014). She has also attended the International Summer School of Cultural Economics organized by CREARE, Amsterdam, with support from the Prince Claus Fund. As a leader in the creative industries \u2013 journalism, broadcast, arts and social enterprises \u2013 Priya has over 14 years of experience spanning diverse areas of expertise. As an arts manager, she is committed to creating value for arts and culture by driving ideas rooted in innovation, sustainability, social impact and education.<\/p>\n

\u00a9 Victoria Johnson 2019, all rights reserved.<\/p>\n

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ArtWorks Spotlight Q&A<\/h2>

\nWhy did you choose MET for your graduate studies? What set MET apart from other programs you were considering?<\/strong>
\nI had already worked as an arts manager in India but was itching to gain global perspectives and learn from best practices across borders. I started exploring programs in arts administration that offered an overview of the landscape. I was keen on learning new skills that I could apply back in India. So I wanted a program that offered practical subjects like \ufb01nance, fundraising and entrepreneurship, and that ideally was designed for professionals and arts practitioners. Given my interest in entrepreneurship, I also wanted to tap into the innovation ecosystem in the United States, so it had to be in a city that offered that culture. The MS in Arts Administration<\/a> at MET checked all the boxes.<\/p>\n

Were you able to use faculty as a resource? Is there a particular faculty member who enhanced your experience at MET?<\/strong>
\nAll the faculty members at the Arts Administration program were wonderful and incredibly knowledgeable. Given my particular interest in entrepreneurship, I also tapped into faculty and student resources at the BUild Lab<\/a>, which added a lot of value to my learning. Other faculty across BU also offered support to many of my projects and ideas—Jen Guillemin<\/a>, Wendy Swart Grossman<\/a>, Darby Hobbs<\/a>, Ian Mashiter<\/a> and Ty Furman<\/a>. Having said this, our advisor at the MET Arts Administration program, Doug DeNatale<\/a>, was my go-to faculty member for all things concerning arts management. I attended two of his courses, and he was also my advisor for directed study. I continue to use the insights gained from our many, many discussions. He understood that, as foreign students, many of us needed extra help to navigate the demands of education in the US. Dr. DeNatale’s continued guidance, patience and support helped me make the most of my time in Boston as a Fulbright fellow.<\/p>\n

Did earning your degree lead to a different career focus, or broaden the scope of opportunity within your existing line of work? Can you share your perspective on that?<\/strong>
\nBefore joining the program, I did not understand the true value of the arts and their role in the creative economy. It was during my time at MET that I realized that I wanted to bring creativity together with sustainable development. As a student at BU, I found supportive mentors, professors and industry experts who have patiently guided my work and research. Most importantly, they instilled in me the benefit of critical enquiry in creating effective solutions. The skills that I gained at MET can be applied across the board—in the arts, social impact consulting, fundraising and beyond. That is exactly what I am doing right now.<\/p>\n

What speci\ufb01c elements of your MET studies were essential to expanding your career opportunities? Consider faculty or student support, quality of instruction, course projects, or other elements of your program that were critical for your success.<\/strong>
\nMichael Ibrahim’s<\/a> class, Raising Funds and Grant Writing for Nonprofit Organizations (MET AR 550)<\/a>, opened my eyes to the world of grant writing and fundraising, which is what I eventually decided to focus on. I worked in the partnerships team at MIT Solve, and at the Fuller Craft Museum thereafter, and Michael’s notes have been a godsend!<\/p>\n

I wrote my \ufb01rst business plan in Wendy Swart Grossman’s<\/a> class, Cultural Entrepreneurship (MET AR 789)<\/a>. I still refer to her notes when I have to navigate the challenges of running a young enterprise. My degree helped me see the arts as a holistic pathway to collective well-being. I started looking at community-led projects and creative placemaking because of Doug DeNatale’s class on Arts and the Community. Darby Hobbs’ class on Social Entrepreneurship and Sustainable Development triggered my interest in seeing creativity through the lens of impact investing. Michele Beasley<\/a> in her Legal Issues in Arts Administration (MET AR 778)<\/a> course demanded that we think for ourselves and back up our opinions with facts.<\/p>\n

My work and research at BU also helped me explore the role of entrepreneurial and inter-disciplinary ecosystems in fostering creative startups. Thanks to support from the BUild Lab and MET, I was able to initiate and lead the \ufb01rst-ever, on-campus event for the prestigious Hult Prize, a global challenge that aims to mobilize student change-makers and entrepreneurs to rethink the future of business and innovation. Ty Furman from BU Arts Initiative<\/a> and my peers at the Arts Administration program supported my interest in fashion sustainability. Together, we conceptualized and led a three-day event, Green Your Wardrobe weekend, as part of the annual Fashion Revolution Week in April 2018. A few months later, Ty asked me to curate a showcase of artisanal goods from international and immigrant communities as part of the Global Music Festival 2018. My time at MET offered me an exciting opportunity to gain diverse perspectives on strategic, hands-on arts management while being part of Boston’s innovation ecosystem. I have so much to be grateful for.<\/p>\n

Your work has explored barriers to pursuing creative careers in South Asia. How would you characterize those barriers, and do you see any progress toward eliminating those barriers?<\/strong>
\nI suspect barriers to pursuing creative careers exist everywhere. In South Asia, we see and experience it more acutely. These barriers emerge from our perception of creative value. How should we value the arts, crafts, culture and creativity when it is so hard to quantify their impact?<\/p>\n

How should we measure the impact of the arts on motor skill development in young children? Or the impact of arts on mental health?<\/strong>
\nMost of us—society, educators, investors—see the arts and creativity as an indulgence: non-remunerative and non-lucrative. As young people in the Global South we are almost always steered towards careers in medicine, law, engineering, information technology and others—careers that promise less uncertainty, perhaps. Most people who eventually pursue their creative calling lack relevant and supportive ecosystems. They are rarely taught how to become self-sustaining. A creative career is deeply rooted in passion and purpose. Thus most enterprises are not looking for easy exits or hockey stick growth; they want to create meaningful impact. This means mainstream approaches to entrepreneurship will not work for a creative startup or artist-innovator. Education for creativity also operates in a silo; it does not bring business and global issues into conversation with arts-led approaches. In a world that needs more and more collaboration for the greater good, creative communities have to be supported with the right tools and resources to play a more integral role in driving inclusion, equity and well-being.<\/p>\n

I do believe there is a global shift in how arts and culture are being perceived, especially post-COVID, when each and every one of us tapped some form of creativity. I am hopeful that the creative and cultural economy will be supported differently. A welcome move is the UN General Assembly’s declaration of 2021 as the International Year of Creative Economy for Sustainable Development. This means they understand and acknowledge that the economy of makers and creators and their contributions have to be taken seriously. With the growth of impact investing, there is a renewed interest in supporting arts-based enterprises globally. All this is great for the creative communities but we will need to keep pace with global changes to stay relevant. We de\ufb01nitely need more advocates who can speak a more global language.<\/p>\n

You founded 200 Million Artisans in April of last year. How have you navigated starting a new enterprise and supporting artisans through COVID-19? Has the experience of the pandemic revealed any new opportunities for innovation?<\/strong>
\nTo be honest, 200 Million Artisans started out as an Excel spreadsheet. I was in Boston when the pandemic hit India and many craft-led enterprises working with artisan communities reached out for help. It was supposed to be a quiet little blog to share information, but then volunteers from all over the world started joining in. We started out as a COVID response platform featuring fundraisers of veri\ufb01ed craft-based organizations in India. Then we moved on to facilitate innovative collaborations to help India’s artisan-producers, enterprises and other players in the sector.<\/p>\n

Ten months on, we are evolving into a purpose-led, social enterprise with a goal to reimagine the potential of the handcrafted by catalyzing inclusion and innovation within India’s handmade sector. Moving forward, as an online platform and community, 200 Million Artisans (200M) intends to support people from all walks of life, working with artisan communities to build successful impact businesses to meet the future needs of sustainable production. We do this by bridging gaps in knowledge, resources and partnerships for small businesses and \ufb01rst-time creative entrepreneurs. Our key areas of focus include:<\/p>\n