International Forum on Cultural Rights and Diversity took place in November 2006 in Seoul, Korea. The 2-day event included the speeches: "Cultural Rights and Diversity : Issues and Challenges", "Systems of Cultural Support and Cultural Diversity : Contradictions and Recommendations", "Cultural Diversity and Cultural Expressions : Why it is Necessary to Protect Diversity" and so on.

Right now, readers can download the papers via Korean National Commission for UNESCO.

This paper explored the questions as purpose: How does non-profit organization measure satisfactory board performance? and In what way are board members held accountable?, mentioned by the author David Fishel.

How are we going to measure performance?

This publication, which is released by World Intellectual Property Organization (WIPO), is a legal guide of Copyright and Related Rights for small and medium sized enterprises, which involves printing; publish; visual and performing arts; design and fashion, and even digital industries, for instance, software and multimeida.

It focuses not only on the ownership of copyright and how to protect people's original creations, but also on the benefits from copyright and related rights.

The current boom in Asia is not only economic but also cultural. The Asian region as a whole and individual states, in particular China and Vietnam, have developed into a region of increased priority in the field of cultural co-operation. Cultural co-operation, however, has always been tied to other strategic goals. The growing interest in the Asian region is above all also political, historical, diplomatic and last but not least economic.

This paper, which is released by Canadian Cultural Observatory, points out 5 myths about the cultural policy in USA, that includes:

1: The absence of a cultural ministry indicates that the United States does not value culture and does not take it seriously.
2: The National Endowment for the Arts (NEA) is the de facto Ministry of Culture.
3: The United States does not have national cultural policies
4: Private and foundation investments in arts and culture are the prime source of income for the arts and cultural sector and provide more than a sufficient source of support.
5: Exported cultural products represent American cultural values and international cultural policy priorities.

In Beijing it is the Beijing Music Festival, in Shanghai the Arts Festival both these events take place in October-November of every year and boast the participation of some notable foreign music groups.

The subject of this article, however, will be the Shanghai Performing Arts Fair, which preceeds the Festival, and is similar in set-up to the fairs held in Tokyo, Seoul and elsewhere, where artists, agents and producers have the opportunity to showcase their newest and best acts to potential, in this case, mostly Chinese, presentors.

Like many major government decisions in Singapore, the city-states national cultural policy is informed by economic rationale. To be sure, Singapore did not have a cohesive or coherent national cultural policy before the late 1980s. Prior to this, during the early years of independence, the arts and cultural industry ranked low on the list of national concerns that included high unemployment, severe housing shortage and economic survival.

Intercultural organisations in the arts first occurred in the Netherlands in the mid-1980s. They were able to establish an intercultural practice and formulate the first features of what interculturality could mean. They took profit from the discourse on integration that was at stake in the Netherlands: integration by preservation of ones own cultural background. This discourse changed during the nineties and provoked a growing debate on how the Netherlands is coping with its minorities. Two discourses became apparent.

Publicity, advertising and marketing in cultural institutions are fields that have rarely been studied in French-speaking Switzerland. The general objective of the research aims at finding out how the clients of cultural institutions concerned with visual arts evaluate the quality of their communication and modify their behaviour accordingly.

The content of this article presents the information behind the database, and how to use ticketing system to do customer relationship management in order to ensure the audiences receive the best services and appropriate information that organisations provide.

The following link provides complete voice and text files of speeches of International Forum on Creative City: The Birth of Creativity, which organized in 2005 by Department of Cultural Affairs of Taipei City, Taiwan.

The key speakers included RT Hon Chris Smith (Former Minister of DCMS, UK), Mr. Charles Landry (Director of COMEDIA), Ms. Pauline Tambling (Executive Director for Development, Arts Council England), Dr. Justin OConnor (Director of Manchester Institute of Popular Culture) and Mr. Matt Adams (Founder of Blast Theory).

3. Touring in China
3.1. To arrange touring time and link up different touring cities reasonably.
Tip: Foreign performing troupes, agencies and promoters may combine their performance tour with main Chinese art festivals, making full use of the established fame and publicity exposure of the festivals. Main art festivals in China are:

This essay is provided by Xu Rong, Deputy Director of Dept for Cultural Industry, Ministry of Culture of P. R. China.

IOne must-known Regulation:
Regulation on the Administration of Commercial Performances revised in September 2005 and its implementing detailed rules (hereinafter referred to as Regulations and Rules)

IITwo main types of business in China for foreign performing art agencies and promoters:
1. Promoting and operating commercial performances
1.1. Ready-made shows to be performed in China
1.2. Show products to be jointly made by both sides and performed either in China or abroad

What does lack of, and how to make effective of human resource management in cultural institutions, especially for small cultural organizations?

The purpose of this study aims to find and establish a better way of these relevant sectors via interviewing cultural managers and target groups around Canada, for example, Training and Development, Communication and Motivation, Mentoring and Coaching, etc.

This handbook, which is released by University of Minnesota in October 2006, delineating the sectors of commercial, nonprofit and community at the beginning. It also explores the crossover of artists, for example, for income and in career. In the end, the authors give readers recommendations from variety sides what artists, educational and institutions, funders, government agencies and others can do.

Founded in Oct. 1987, the National Chiang Kai Shek Cultural Center will be celebrating its 20th anniversary next year.

Though the center is almost 20 years old, but not until March, 2004 has it officially changed the legal status from "governmental organization" to the first independent "public corporation" in Taiwan.

Designhouse Inc., which is the design & cultural contents media corporation established in 1976 in Korea, has built a museum commemorating its 30th Anniversary since its establishment.

The museum was named Papertainer because it was built with 353 Paper Tubes and 166 Containers. Even though paper and container were familiar materials, we were able to make it into a new form of artwork, said the Designhouse CEO, Young Hye Lee.

The education and training of curators in the UK has a long history which has been well documented by Geoffrey Lewis, former Director of the Department of Museum Studies at the University of Leicester, and President of the Museums Association. Discussions as to what curatorial education might entail go back to the establishment of the Museums Association (MA) in 1889. By the mid 1920s, summer schools had been introduced by the National Museum of Wales for its own staff and the staff of affiliated museums, and the MA was considering the introduction of an in-service diploma. This was eventually introduced in 1930. Week-long courses were held in different museums in turn until 1980, when the Museums Association Diploma Courses were transferred to the Department of Museum Studies at Leicester; by the end of the decade these courses had been abolished as other provision was by then available.

All types of cultural organization have their own difficulties, weakness or resources. Therefore, in this paper, it focuses on large and small organizations should recognize that partnerships can help both expand their network and audiences. Furthermore, what are the strategies to build arts participations?

This publication was the results of collaboration between ENCATC, European Network of Cultural Administration Training Centre and UNESCO which discussed about the fundamental questions that involved the future of cultural administrators and the education and training sectors in a shifting landscape.