This dissertation examines a Central Ohio Fair Trade arts organization, Global Gallery, and its capacity building process. The focus of the study primarily revolves around the educational aspects of the non-profit organization's mission, as understood by its constituents, artisans, volunteers, staff and board members. The methodologies for the study fall within qualitative research and include critical participatory action research and autoethnography. These methods were carried out within a pragmatist, feminist, communitarian theoretical framework.
The goal of this study was to improve Global Gallery's educational programming and the visibility of all shareholders' work toward realizing its mission and a broader effort to build organizational capacity. An appreciative inquiry approach prioritized building on strengths to achieve results. My data was collected through a series of four focus group sessions with Global Gallery constituents in Ohio and Bolivia. Additional data included board strategic planning processes and the researcher's autoethnographic narratives. These two data sources were integrated into the data findings and analysis to illuminate epiphanic moments in the capacity building process. Four themes emerged from the focus group and strategic building processes that were then developed into action plans that are to be carried out in collaborative committees made up of diverse constituents from at least three of the four categories. These themes turned into specific goals around educational programming, policies and procedures, earned income and fundraising.
The conclusion delivers a conceptual framework that incorporates the lessons learned from the research. This visual and narrative presentation provides a template outline for future Global Gallery projects, current action plan implementation, relationships with Global Gallery partners and other Fair Trade or international arts organizations. This template constitutes one manifestation of the goal to improve Global Gallery capacity and educational programming visibility through the study. I hope that the dissertation serves the Fair Trade and Global Gallery communities by creating democratic and functional structures for more just economic relationships in trade with indigenous cultural arts producers and dissemination of knowledge about these forms of cultural exchange.