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

In October, 2006, Live Performance Australia released this report Ticket Attendance and Revenue Survey Live Entertainment Industry in Australia, which aimed to give an overview of the financial development of entertainment and live performance industries in 2005 by statistics and analysis.

The box office raised up 21% on 2004, and attracted 13.7 million audiences.

The paper considers recent policy changes to the copyright law and its management, particularly digital rights management, and asks how they can be evaluated. Copyright law is perhaps the most important policy tool affecting the cultural industries and it provides the regulatory environment in which all enterprises in the music, film, book publishing, broadcasting and other media industries function. Digitalisation is now affecting all art forms and the management of rights is becoming an issue for arts managers as well. In Europe, the European Commission is seeking to increase competition into rights management but it is argued this may lead to restriction of cultural diversity and other cultural policy aims.

Following an open invitation to tender (DE), the European Commission selected KEA European Affairs to carry out this study. KEA worked together with Media Group (Turku School of Economics) and MKW Wirtschaftsforschung GmbH.
This study is a first at European level. It highlights the direct (in terms of GDP, growth and employment) as well as the indirect (links between creativity and innovation, links with the ICT sector, regional development and attractiveness) contribution of the cultural and creative sectors towards the Lisbon Agenda.

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.

The aim of this manual is to provide an overview introduction for museum managers the strategy and goal, the role of museum today, and the new methods of management in order to face the changing and varieties societies. Furthermore, it guilds museologists how to care the collections for safety and security, and how to communicate with the audience through museum education.

Utilising the information gathered in four European cities, this paper discusses and tests a framework of reference for visitor friendliness, a complex concept that encapsulates the main dimensions of the urban tourism product such as its quality, accessibility and image projection. This concept is particularly relevant to assess whether investments in culture and hospitality genuinely respond to the impulses coming from the market. The case studies highlight how specic soft elements of the urban tourism product are the ones that matter most in determining the attractiveness of a city for international visitors, and yet they are often overlooked by city planners. The paper also identies a number of best practice in tourism management. r 2002 Published by Elsevier Science Ltd.

This document was the presentations of the workshop which took place in Vienna, Austria.

The contents include Towards an Economics of Creativity, Funding Bodies Defining Who is In and Who is Out, Cultural Industries / Creative Sector: Definitional Approaches, The Run on Creativity, Defining Creative Industries by Comparing the Creation of Novelty, Creative Industries Training and Urban Regeneration Domestication Versus Empowerment, and Cultural Regeneration as Discursive Government: Political Decision-making on the Vienna Museumsquartier with a Comparative Perspective on the Berlin Stadtschloss .