Large economic and cultural gains will be made possible by digital content production and applications development according to a report released in May 2002 by the Acting Minister for Communications, Information Technology and the Arts, Senator Rod Kemp. The Stage One report on the Creative Industries Cluster Study provides preliminary analysis and mapping of the industries producing digital content and applications.
The report identifies the key enterprises, their location and the productivity drivers and barriers. It also finds that cluster approaches potentially offer a means of addressing barriers and market failures in digital content and applications industries. The clusters have the potential to improve the efficiency and international competitiveness of these industries.
Cities of St Petersburg, Helsinki and Manchester initiated under the aegis of The Prince of Wales International Business Leaders Forum, the Partnership has been awarded a grant by the European Commission's Tacis Cross-Border Cooperation Programme.
The fastest-growing economic sector in Europe is made up of SMEs whose business activity is based on individual creativity in the arts, on knowledge skills and talent. The Creative Industries Small and Medium Enterprise (CISME) sector has been identified in EU countries as distinct, serving a key function in post-industrial economies and needing sector-specific training and support. The three-city partnership will bring the two EU cities' specialist expertise together with the excellent potential in this sector in St Petersburg.
The fastest-growing economic sector in Europe is made up of SMEs whose business activity is based on individual creativity in the arts, on knowledge skills and talent. The Creative Industries Small and Medium Enterprise (CISME) sector has been identified in EU countries as distinct, serving a key function in post-industrial economies and needing sector-specific training and support. The three-city partnership will bring the two EU cities' specialist expertise together with the excellent potential in this sector in St Petersburg.
The tourism and hospitality industry is the largest in the world in terms of income and employees. Competition is fierce among countries and cultural institutions. The "Mediterranean Conference on Cultural Tourism, Cultural site, Hospitality and Museum Marketing and Strategy Planning" will apply marketing principles and tools to raise the visibility of tourism, using, as case study, Catania and Sicily to demonstrate the value proposition that tourists to Sicily (or any other Mediterranean region) will enjoy that will not be available in other tourist locations. A second part of the conference will focus on cultural institutions such as museums, which often are attractions and destinations that lead tourists to select one place over others. Marketing and strategic planning at museums will indicate ways museums can attract the types of audiences they desire and provide exceptional experiences to their visitors. Building audiences, creating a community of stakeholders, and increasing revenue at cultural institutions will be highlighted in the discussion.
Chairman of the conference is Dr. Neil Kotler, co-Author of the book "Museum Strategy and Marketing".
Chairman of the conference is Dr. Neil Kotler, co-Author of the book "Museum Strategy and Marketing".
Corporate sponsorship - not to be confused with corporate philanthropy which refers to a financial engagement by companies based on altruistic motives - allows companies to connect their engagement with their communication goals.
This paper is the final report of the first phase of the Creative Management project, which deals with one of the most challenging resource dilemmas facing Canadas not-for-profit arts and heritage sector how we can keep our current experienced managers and administrators in the sector and provide for their professional renewal, and how we can attract, develop and retain a new generation of committed managers to continue the work of our present leaders.
Over the next five to ten years, the huge baby boom generation, whose members occupy many mid- to senior-level jobs in all sectors of the economy, will begin retiring, while the number of workers under age 30 starts to plummet. The next generations of professionals will be the best-educated cohorts in Canadian history, technologically savvy, culturally diverse, and highly marketable - but few in number and burdened by record-high student debt loads.
With their pick of jobs, will they choose to work in Canadas not-for-profit arts and heritage organizations?
Over the next five to ten years, the huge baby boom generation, whose members occupy many mid- to senior-level jobs in all sectors of the economy, will begin retiring, while the number of workers under age 30 starts to plummet. The next generations of professionals will be the best-educated cohorts in Canadian history, technologically savvy, culturally diverse, and highly marketable - but few in number and burdened by record-high student debt loads.
With their pick of jobs, will they choose to work in Canadas not-for-profit arts and heritage organizations?
The topic I want to tackle within this paper is the question how arts managers can make use of the results of cultural economics.
For people who are no experts in these issues it usually seems obvious that the main purpose of cultural economics is to make management easier, to help the arts in dealing with economic problems. But, of course, this is not true. On one hand, Cultural Economics sees itself as an economic science, it uses logical models to explore complex economic interrelationships. Its main goal is to understand how the economy of arts and culture works. Arts management, on the other hand, is a part of business management and deals with the very down to earth question how to manage an artistic enterprise.
But, seen from an economic angle, the arts are not such a large field. And the different scientific disciplines dealing with the arts - apart from the History of the arts - are rather young, not yet established and only represented by a small number of scientists. So, little wonder that the boundaries between, lets say economics of the arts, arts management, arts sociology and cultural policy research are not that clear. On the whole, this is certainly an advantage, as it makes interdisciplinary work much easier.
For people who are no experts in these issues it usually seems obvious that the main purpose of cultural economics is to make management easier, to help the arts in dealing with economic problems. But, of course, this is not true. On one hand, Cultural Economics sees itself as an economic science, it uses logical models to explore complex economic interrelationships. Its main goal is to understand how the economy of arts and culture works. Arts management, on the other hand, is a part of business management and deals with the very down to earth question how to manage an artistic enterprise.
But, seen from an economic angle, the arts are not such a large field. And the different scientific disciplines dealing with the arts - apart from the History of the arts - are rather young, not yet established and only represented by a small number of scientists. So, little wonder that the boundaries between, lets say economics of the arts, arts management, arts sociology and cultural policy research are not that clear. On the whole, this is certainly an advantage, as it makes interdisciplinary work much easier.
There is an urgent need to strengthen the knowledge base on culture and human development. This is required in order to repair the distorted, culture-neglecting view of reality which has so far characterised most development efforts. The aim of this report is therefore to develop and consolidate a new conceptual framework for the elaboration of tools for the assessment, planning and reporting of cultural policies for human development.
There has been a wealth of work at international, national and local levels to define the complex and diverse relationships between the two terms culture and human development. The totality of this work does not yet constitute a coherent paradigm for work on appropriate indicators. Various lists of criteria and values have been put forward on the one hand, and various conceptual directions have been flagged on the other. These hands are not quite, however, in a position to shake. Conceptual and policy handshakes will therefore be necessary in the form of the development of complementary methodologies for cultural assessment.
This report proposes two key operational tools as frameworks for assessment and implementation: cultural mapping and cultural planning. They are sufficiently open to accommodate the facts of cultural diversity and the strategic imperatives of applied work in the contemporary cultural field.
This document is a summary of the report Towards Cultural
Citizenship Tools for Cultural Policy and Development, a Swedish contribution to the follow up of the Stockholm Plan of Action.
There has been a wealth of work at international, national and local levels to define the complex and diverse relationships between the two terms culture and human development. The totality of this work does not yet constitute a coherent paradigm for work on appropriate indicators. Various lists of criteria and values have been put forward on the one hand, and various conceptual directions have been flagged on the other. These hands are not quite, however, in a position to shake. Conceptual and policy handshakes will therefore be necessary in the form of the development of complementary methodologies for cultural assessment.
This report proposes two key operational tools as frameworks for assessment and implementation: cultural mapping and cultural planning. They are sufficiently open to accommodate the facts of cultural diversity and the strategic imperatives of applied work in the contemporary cultural field.
This document is a summary of the report Towards Cultural
Citizenship Tools for Cultural Policy and Development, a Swedish contribution to the follow up of the Stockholm Plan of Action.
There is no single definition or job description for the tasks performed by the person who accepts the title of Stage Manager for any theatrical production. Every theatre or production company has different ideas and expectations regarding the Stage Manager's role in the production process. Each Producer or Director may ask different things of the Stage Manager for each individual production. Therefore, the individual who accepts this position must be as flexible as the job description itself.
The rather playful title of this workshop suggests the reluctance - bordering on resistance - of some educators to take advantage of the World Wide Web as a pedagogical support tool for their coursework. Once people stop viewing the Web and the opportunities it offers as an end in itself but rather see it as a means to an end, namely the use of the Web to enhance, expand and enlarge the learning process, this reluctance usually diminishes significantly.
Of course, a large of number of people have taken the leap to embrace information technology as a curricular or co-curricular tool with varying levels of success. In my opinion, the level of success most people have experienced is directly proportional to the level and rigor of planning and research that preceded creation and implementation of Web-based tools. Simply put: the more a person understands a tool and its capacities, and thinks strategically and thoroughly about how that tool can be of service, the more successful that person will be with that tool.
Of course, a large of number of people have taken the leap to embrace information technology as a curricular or co-curricular tool with varying levels of success. In my opinion, the level of success most people have experienced is directly proportional to the level and rigor of planning and research that preceded creation and implementation of Web-based tools. Simply put: the more a person understands a tool and its capacities, and thinks strategically and thoroughly about how that tool can be of service, the more successful that person will be with that tool.
The paper takes a closer look at cultural festivals such as musical or operatic festivals. From an economic viewpoint the paper shows that such festivals offer great artistic and economic opportunities, but that at the same time these opportunities are also easy to destroy.
A conceptual framework is now being developed that provides a new understanding and foundation for increasing participation in arts and cultural activities. This framework is based on recent research, writings on past practice, pilot projects, and the application of theory from related fields. This work is supported by several foundations, including the Walter and Elise Haas Fund, the Heinz Endowments, the William and Flora Hewlett Foundation, the James Irvine Foundation, the John S. and James L. Knight Foundation, the David and Lucile Packard Foundation, and the Wallace-Reader's Digest fund. The result is a set of new fundamentals and practices that can increase the number of participants and audiences, deepen the participation of current participants, and reach the next generation of adult participants.
Change of Events: Despite the cautionary business climate, new research reveals a more important and valuable role for events in the marketing mix.
The training of arts/cultural administrators in Taiwan is related to the development of Taiwans arts/cultural administration and the centralized system of the government. In this top-down system, the government has long played a leading role in the development of arts/cultural policies and enterprises. The Constitution of the Republic of China (Taiwan), established in 1946, Chapter 13, Section Five: Education and Culture, Article 164, 165 and 166 describes the basic principles for promoting arts/cultural enterprises. Article 164 says that:
Funds earmarked for education, science, and culture shall be, in respect of the Central government, not less than 15% of the total national budget; in respect of the Provincial government, not less than 25% of the total Municipal or County budget. Educational and cultural foundations established in accordance with law, and their property shall be protected (the Council of Cultural Affairs, 1995, p. 22-23).
Arts Management Network is offering exclusively a report about the arts management education.
Funds earmarked for education, science, and culture shall be, in respect of the Central government, not less than 15% of the total national budget; in respect of the Provincial government, not less than 25% of the total Municipal or County budget. Educational and cultural foundations established in accordance with law, and their property shall be protected (the Council of Cultural Affairs, 1995, p. 22-23).
Arts Management Network is offering exclusively a report about the arts management education.
One of the most dynamic sectors of the labour market is the culture industries. Studies have shown that this sector has been expanding at a rate near to or beyond the overall growth of some national or regional economies and it is expected that employment rates will double in the next ten years. The fields which make up this sector, including everything from visual or performing arts to multimedia production, have been heralded as ones which can secure sustainable employment, reinforce endogenous regional potentials and shape the future through high levels of creativity and innovation via a market in which the majority of goods and services are non-substitutable.
One of the reasons for its exponential growth over the last 20 years has been explained by the increase of women working in various professional fields. Recent transnational empirical studies have indicated, however, that their representation in various occupations and at different stages of cultural production can range from below 10% (e.g. in some of the music professions) to over 60% in fields, which are today deemed "feminised".
The European Research Institute for Comparative Cultural Policy and the Arts (ERICarts) has initiated a transnational research project in co-operation with Finn-EKVIT (Helsinki), Mediacult (Vienna) and the Observatorio das Actividades Culturais (Portugal) to investigate the gate-keeping systems in the cultural labour markets and the impact that gatekeepers have on the career development of women working in the arts and media professions after they leave school .
One of the reasons for its exponential growth over the last 20 years has been explained by the increase of women working in various professional fields. Recent transnational empirical studies have indicated, however, that their representation in various occupations and at different stages of cultural production can range from below 10% (e.g. in some of the music professions) to over 60% in fields, which are today deemed "feminised".
The European Research Institute for Comparative Cultural Policy and the Arts (ERICarts) has initiated a transnational research project in co-operation with Finn-EKVIT (Helsinki), Mediacult (Vienna) and the Observatorio das Actividades Culturais (Portugal) to investigate the gate-keeping systems in the cultural labour markets and the impact that gatekeepers have on the career development of women working in the arts and media professions after they leave school .
A new report, released on January 13, 2003, examines national and provincial trends in performing arts attendance in Canada. The report - the first in a series of publications on the arts by Hill Strategies - shows that over 9.1 million Canadians 15 years of age or older, or 37.6% of Canadians in this age range, attended a live, professional performing arts event in the survey year. Theatre is the most popular live performing arts activity, followed by popular forms of music, classical music and dance.
The contents of this publication are results from the action-research program INCLUDE carried out in 1998-99 and 1999-2000. The INCLUDE Project was designed by the Interarts Foundation in the framework of the Leonardo Da Vinci Programme (Formerly DG XXI: Education and Youth), financed by the European Commission. The main objectives of the INCLUDE project have been to analyse and evaluate cultural policies, projects, programmes and methodologies concerning employment creation within the cultural sector in order to propose a curriculum design for cultural managers as local development agents. The project was carried out in three phases.
The first phase was devoted to the analysis of European local and regional cultural policies through the study of the data gathered and collated in the FACTUS data base. The second phase included the expansion of this action-research through the study of the conclusion of the INCLUDE Survey in collaboration with 13 European cultural training and education centres. The third phase aimed at raising new interest within the training communities to observe whether the objectives had been accomplished, to examine the obtained results and to explore some future perspectives in their field of competence. One of the main objectives of the INCLUDE Project was to provide a curriculum design built specifically for the cultural management training in order to recognize the role of the Cultural Manager as key agent for local development.
The curriculum design introduced in this edition is one of the first of its kind and has been already successfully implemented in training.
The first phase was devoted to the analysis of European local and regional cultural policies through the study of the data gathered and collated in the FACTUS data base. The second phase included the expansion of this action-research through the study of the conclusion of the INCLUDE Survey in collaboration with 13 European cultural training and education centres. The third phase aimed at raising new interest within the training communities to observe whether the objectives had been accomplished, to examine the obtained results and to explore some future perspectives in their field of competence. One of the main objectives of the INCLUDE Project was to provide a curriculum design built specifically for the cultural management training in order to recognize the role of the Cultural Manager as key agent for local development.
The curriculum design introduced in this edition is one of the first of its kind and has been already successfully implemented in training.
The most successful nonprofit arts organizations are continually seeking creative ways to advance their missions while increasing revenue. In the Washington, D.C. metropolitan area, long-term partnerships with large companies have facilitated the growth of several nonprofits that benefit children and young people.
FILM INDUSTRY BROADBAND RESOURCES ENTERPRISE (FIBRE) was formed in November 2000 by a number of key players in the post production industry, following a First past the Post forum in Sydney and Melbourne, hosted by the Minister for Communication, Information, Technology and the Arts, Senator Richard Alston. Each forum confirmed the difficulties faced by the industry in obtaining cost-effective broadband connectivity to suit the difficult and often unpredictable needs of post production.
The founding mission of FIBRE was to secure affordable broadband connectivity between companies and locations in Australia and with trading partners in key production locations around the world.
The founding mission of FIBRE was to secure affordable broadband connectivity between companies and locations in Australia and with trading partners in key production locations around the world.
The Canadian Arts Presenting Association/L'Association canadienne des organismes artistiques (CAPACOA) will convene its 16th annual conference on November 1517, 2003 in Ottawa.
The conference includes working sessions and a resource room, in addition to a live performance showcasing component. (Showcases are allocated by a juried competition.) There is also a two-day professional development institute immediately preceding the conference.
The conference includes working sessions and a resource room, in addition to a live performance showcasing component. (Showcases are allocated by a juried competition.) There is also a two-day professional development institute immediately preceding the conference.
The meeting in Nairobi, 19 December 2002, was organised, on behalf of the Division of Cultural Policies of UNESCO, by the Regional Centre of Cultural Action (CRAC, Lomé, Togo) in the framework of a project aimed at stregthening the regional capacities of training specialized personnel in the field of cultural development and cultural polices for cultural development.