Hollan earned a bachelor’s degree from Duke University with a double major in public policy and visual art/art history, earned a law degree from the University of Denver, completed entertainment industry master of business administration coursework at Berklee College of Music, and earned a master of arts in critical theory and a master of fine arts in visual arts from the Pacific Northwest College of Art.

Hollan has owned a law firm with a focus on entertainment law and criminal defense with a catalog of clients that included touring bands, solo artists, visual artists, authors, app developers, managers, publishers, record labels, small business owners, actors and producers with scripted, unscripted and documentary film and television projects. She then joined Live Nation, where she served first as an artist rights consultant and then as associate counsel supporting the Legal, Productions, and Media and Sponsorship divisions.

As a freelance creative, business and legal consultant, Hollan works with creative people of all types, including acclaimed producers with a focus on documentary content, international touring artists in various genres, companies whose creative content includes important political messaging, law firms, alternative arts practitioners, cannabis companies, disruptive business leaders, visual artists and writers. Her nonprofit and leadership roles include service for Volunteer Lawyers and Professionals for the Arts in Tennessee and Georgia, the American Bar Association鈥檚 Entertainment and Sports divisions and Young Lawyers Divisions, where she was awarded 鈥淪tar of the Quarter,鈥� and the Immigration Justice Project, where she received an American Bar Association Commission on Immigration Pro Bono Week Award in 2021.

She joins 黑料不打烊 on a three-year visiting line and will be a member of the Art Department.

SACITS is the first major study to examine this workforce in terms of education, training and employment practices (job searches, salary negotiations, number of venues/employers for independent contractors, and weekly vs. annual income levels for the creative industries), as well as job satisfaction and work/life balance.聽 The goal of this ongoing study is to provide data for a field that does not have representation in national discussions about employment and workplace practices.

The data in this first round of the SACITS Study was collected prior to the COVID-19 global pandemic, so it will also serve as a baseline in future studies of how the Creative Industries in South Africa recover and adapt.

The SACITS study was made possible through a Faculty Research & Development Fellowship from 黑料不打烊.聽 The 黑料不打烊 Fellowship allowed McGraw to remain in South Africa following his Fulbright Specialist Grant, a consultation project with the South African State Theatre on their new musical FREEDOM.聽 He met with Creative Industry professionals at fifteen venues in the regions of Johannesburg, Pretoria, Cape Town, and Stellenbosch and spent two weeks at the University of Cape Town developing the study with Ronel Jordaan, Senior Stage Manager and Production Manager for the Department of Drama.

The SACITS study is based on the Stage Manager Survey, which McGraw created in 2006 and conducts biennially in the United States. The South African and American studies were conducted simultaneously so that some questions, such as salary negotiations, methods of commuting to work, and the number of financial dependents could be directly compared.聽 For instance, among 100 South Africans and 950 Americans who answered the same question, only 31 percent of South Africans compared to 74 percent of Americans had no one else dependent upon their Creative Industries salary.

The initial SACITS report, written for industry professionals, can be accessed at .