TORONTO - The Ernie Eves government is investing an additional $15 million to the Ontario Arts Council 's base funding to revitalize the province's arts and cultural sector through new business growth and training, Culture Minister David H. Tsubouchi announced on July 3rd.
The base funding increase for 2003/04 is $7.5 million, with another $7.5 million increase to base funding in 2004/05.
"The Eves government is committed to strengthening the arts community with new jobs, especially in culturally diverse communities where the province is experiencing significant population increases," said Tsubouchi. "Today's $15 million base funding increase is a substantial investment by the Ernie Eves government which will provide the resources needed to rejuvenate arts and culture in Ontario."
angewendete Filter: intersectorial
When one is in the middle of the SARS emergency it is easy to focus almost exclusively on its local impact. Toronto's arts and entertainment community has been seriously affected by performers unwilling to come to the city, cancelled performances and reduced attendance at performances that have been held.
However, as Eva Johansson relates in the May issue of International Arts Manager, the arts communities in Asia have been hit even more seriously. In Taiwan, a ten-day contemporary music festival was cancelled after its organizers learned that one group scheduled to perform had travelled on the same plane as someone who was infected with SARS. In Beijing, all theatres and public venues were closed in an effort to contain the spread. Prior to that, the Third International Beijing Piano Competition was cancelled and tours by the Royal Winnipeg Ballet and the BBC Scottish Symphony Orchestra were called off. In Hong Kong, many visiting artists and groups decided not to come, forcing the cancellation of many events by the Hong Kong Chinese Orchestra and the Hong Kong Philharmonic.
At concerts that did to on, ushers and audiences alike wore face masks and according to the Hong Kong Sinfonietta's chief executive, at a concert in late March "nobody coughed during a whole movement."
In Japan, performances by Chinese artists have been cancelled and Singapore's Asian Arts Mart has taken many health precautions to encourage attendance. Among the precautions are health declaration forms for delegates, daily temperature checks and certification by a doctor for anyone who appears unwell that the do not have SARS.
It is too soon to determine what the economic impact to arts organizations will be in any of the countries affected. But for arts organizations everywhere that are chronically short of funds, it is certain to be significant.
However, as Eva Johansson relates in the May issue of International Arts Manager, the arts communities in Asia have been hit even more seriously. In Taiwan, a ten-day contemporary music festival was cancelled after its organizers learned that one group scheduled to perform had travelled on the same plane as someone who was infected with SARS. In Beijing, all theatres and public venues were closed in an effort to contain the spread. Prior to that, the Third International Beijing Piano Competition was cancelled and tours by the Royal Winnipeg Ballet and the BBC Scottish Symphony Orchestra were called off. In Hong Kong, many visiting artists and groups decided not to come, forcing the cancellation of many events by the Hong Kong Chinese Orchestra and the Hong Kong Philharmonic.
At concerts that did to on, ushers and audiences alike wore face masks and according to the Hong Kong Sinfonietta's chief executive, at a concert in late March "nobody coughed during a whole movement."
In Japan, performances by Chinese artists have been cancelled and Singapore's Asian Arts Mart has taken many health precautions to encourage attendance. Among the precautions are health declaration forms for delegates, daily temperature checks and certification by a doctor for anyone who appears unwell that the do not have SARS.
It is too soon to determine what the economic impact to arts organizations will be in any of the countries affected. But for arts organizations everywhere that are chronically short of funds, it is certain to be significant.
Despite the slowdown in the economy, arts sponsorship continues to represent a significant tool in the marketing armoury judging by the entries to Irelands largest Arts Sponsorship Awards event, the Allianz Business2Arts Awards 2003.
Minerva stands for Ministerial Network for Valorising Activities in digitisation and its main task is to bring together European Culture Ministries to discuss, co-ordinate and harmonise the digitisation of cultural scientific content.
The International Journal of Cultural Policy is increasing in frequency to three issues per year. The Journal aims to provide an outlet for an interdisciplinary and international exploration of the nature, function and impact of cultural policies. It includes a broad view of cultural policy, encompassing culture as a "way of life" as well as culture in the narrower sense of the arts and cultural industries. It is concerned both with the policies of institutions and with the wider discourses which relate to the general conditions of culture.
Online features include SARA Scholarly Articles Research Alerting. SARA is a free email contents alerting service designed to deliver tables of contents for over 750 journals of your choice in advance of the printed edition. Registering for the service is simple and you can now request to receive alerts by keyword or by title. For more information visit www.tandf.co.uk/sara
Online features include SARA Scholarly Articles Research Alerting. SARA is a free email contents alerting service designed to deliver tables of contents for over 750 journals of your choice in advance of the printed edition. Registering for the service is simple and you can now request to receive alerts by keyword or by title. For more information visit www.tandf.co.uk/sara
The following conversation is a follow-up to "Criticism of Foundations," an article by Stanley N. Katz that appeared in Grantmakers in the Arts, Volume 9, Number 2, Fall 1998
On June 2, 2003, the Center for Arts and Culture launched the Cultural Commons, an online space for networking, information exchange, community building and issue identification in cultural policy.
The Center's experience with its Cultural Policy Network and its Cultural Policy Listserv has illuminated a continuing communications divide between researchers and practitioners. The Cultural Commons is designed as a web space through which different kinds of information and data can be sorted and accessed: news, events, opportunities within the field, and research.
The Center's experience with its Cultural Policy Network and its Cultural Policy Listserv has illuminated a continuing communications divide between researchers and practitioners. The Cultural Commons is designed as a web space through which different kinds of information and data can be sorted and accessed: news, events, opportunities within the field, and research.
Beschreibung: The training of arts/cultural administrators in Taiwan is related to the development of Taiwan?s 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).
Educational and cultural foundations established in accordance with law, and their property shall be protected (the Council of Cultural Affairs, 1995, p. 22-23).
International Festival and Event Association (IFEA) Europe
IFEA Conference 2002
February 7-11, 2002, Bonn
Art and Exhibition Hall of the Federal Republic of Germany
Summary
IFEA Conference 2002
February 7-11, 2002, Bonn
Art and Exhibition Hall of the Federal Republic of Germany
Summary
Conference of the Association of Arts Administration Educators, April 10-12, 2002 in New York City
From April 10-12, 2002, the Association of Arts Administration Educators (AAAE) held its 25th Anniversary Conference in New York City, hosted by the Arts Administration programs at Teachers College Columbia University and the Steinhardt School of Education/New York University.
From April 10-12, 2002, the Association of Arts Administration Educators (AAAE) held its 25th Anniversary Conference in New York City, hosted by the Arts Administration programs at Teachers College Columbia University and the Steinhardt School of Education/New York University.
CONFERENCE SUMMARY AND OPENING REMARKS
Queensland University of Technology - June/July 1, 2001
The Brisbane Conference accomplished several goals: it brought forty arts administration educators together from all over the world, with particularly good representation from Asia; it allowed these colleagues to spend time in working meetings discussing the pressing issues of outcomes and standards for the field and of international chapters for the AAAE; it facilitated sessions where small groups shared best practices in internships and practical experience, technology and the curriculum, relationships with the cultural community and teaching problem-solving and creative thinking. The international representation at the conference made these colleagial sessions very rich.
In addition, a panel; of Australian arts management alumni including David MacAlister, dancer turned new manager of the Australian Ballet, spoke of their training and post-education experiences. A stellar panel of Australian arts managers included the managers of the Sydney Opera House, Michael Lynch, and of the Queensland Theatre Company as well as a tax expert discussing the new GST as it affects Australian arts and culture. David Fischer spoke about philanthropy in Australia and our host, Scott Trow, manager of the Powerhouse where the conference was held, spoke passionately about presenting cutting edge art.
Members interested in international chapters will spend the next year honing their own networks and articulating future membership needs. The results of the Outcomes and Standards discussion will be presented to the Board of Directors who plan to form a committee to spend the next year reviewing appropriate models in other fields, examining recourses and making recommendations to the membership.
Queensland University of Technology - June/July 1, 2001
The Brisbane Conference accomplished several goals: it brought forty arts administration educators together from all over the world, with particularly good representation from Asia; it allowed these colleagues to spend time in working meetings discussing the pressing issues of outcomes and standards for the field and of international chapters for the AAAE; it facilitated sessions where small groups shared best practices in internships and practical experience, technology and the curriculum, relationships with the cultural community and teaching problem-solving and creative thinking. The international representation at the conference made these colleagial sessions very rich.
In addition, a panel; of Australian arts management alumni including David MacAlister, dancer turned new manager of the Australian Ballet, spoke of their training and post-education experiences. A stellar panel of Australian arts managers included the managers of the Sydney Opera House, Michael Lynch, and of the Queensland Theatre Company as well as a tax expert discussing the new GST as it affects Australian arts and culture. David Fischer spoke about philanthropy in Australia and our host, Scott Trow, manager of the Powerhouse where the conference was held, spoke passionately about presenting cutting edge art.
Members interested in international chapters will spend the next year honing their own networks and articulating future membership needs. The results of the Outcomes and Standards discussion will be presented to the Board of Directors who plan to form a committee to spend the next year reviewing appropriate models in other fields, examining recourses and making recommendations to the membership.
This course presents a cultural-economic perspective. In mainstream economics, the notion of culture is reduced to the action of self-interested individuals in chilly market institutions....
Friday/Saturday/Sunday, April 4 - 6 , 2003
"The Relationship between Marketing, Art and Management"
Friday, 14.30-18h
Michael Schilhan, Int. Stage Director for Opera and Theatre, Artistic Director of the youth theatre "Next Liberty" in Graz. Worked together with Philip Glass and Hermann Nitsch a.o.
"Theatre Management: Organisational Issues and Programming"
Saturday, 9-12.30h
Charles Kaye, Arts Consultant, London, former Executive Administrator of the renowned conductor Sir Georg Solti and former Ass. Director of Lies Asconas Ltd.:
"Approach and Insight to the Profession of an Arts Consultant and the Role of a Cultural Manager"
Saturday, 14.30h-18h
The Standing and Influence of an Agency, How to market and raise the value of an Artist
The New Cultural Manager, an Impresario? How to foster and develop careers
Ethic Values of the profession, requirements and demands of an Arts Manager
Sunday, 9-12.30h
International Contract Policy, How to make profit and avoid pitfalls, with vivid examples Network Management - How to act and think global and to be most efficient in doing it
Admission Fee: 190,- Euro, Students' discount
Location: ICCM, Gyllenstormstr. 8, A-5026 Salzburg-Aigen
"The Relationship between Marketing, Art and Management"
Friday, 14.30-18h
Michael Schilhan, Int. Stage Director for Opera and Theatre, Artistic Director of the youth theatre "Next Liberty" in Graz. Worked together with Philip Glass and Hermann Nitsch a.o.
"Theatre Management: Organisational Issues and Programming"
Saturday, 9-12.30h
Charles Kaye, Arts Consultant, London, former Executive Administrator of the renowned conductor Sir Georg Solti and former Ass. Director of Lies Asconas Ltd.:
"Approach and Insight to the Profession of an Arts Consultant and the Role of a Cultural Manager"
Saturday, 14.30h-18h
The Standing and Influence of an Agency, How to market and raise the value of an Artist
The New Cultural Manager, an Impresario? How to foster and develop careers
Ethic Values of the profession, requirements and demands of an Arts Manager
Sunday, 9-12.30h
International Contract Policy, How to make profit and avoid pitfalls, with vivid examples Network Management - How to act and think global and to be most efficient in doing it
Admission Fee: 190,- Euro, Students' discount
Location: ICCM, Gyllenstormstr. 8, A-5026 Salzburg-Aigen
The University of South Australia's Arts and Cultural Management Program and their industry partners are delighted to announce the launch of the Asia Pacific Journal of Arts and Cultural Management - a new peer reviewed online Journal in Arts and Cultural Management. The journal will focus on issues relevant to the Asia Pacific region in particular. Papers are invited from researchers, academics and practitioners.
Carmel Naughton has been selected as the winner of the Business2Arts award for the Most Outstanding Contributor to the Arts in Ireland 2002. The Minister for Arts, Sport & Tourism, John O'Donoghue, TD presented the award at a special dinner, sponsored by AIB, in Newman House, Dublin on Wednesday 19 February 2003.
The Royal Festival Hall has installed ARTIFAX Ticketing for their box office and internet booking. The new internet ticketing system can be seen at www.rfh.org.uk where you can buy tickets online, selecting the exact seats you want, with no booking fee payable....
Thanks to a £12,150 funding award from Arts & Business, the University of Leicester Richard Attenborough Centre (RAC) is extending a recently developed partnership and setting up a programme of visual arts for HSBC staff at the nearby UK Commercial Service and Sales Centre in De Montfort Street...
The book "Creative Industries - Contracts between Art and Commerce" explores the organization of creative industries, including the visual and performing arts, movies, theater, sound recordings, and book publishing.
In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred....
In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred....
The first Creative Industries Mapping Document, published in November 1998, was the first ever attempt to measure the economic contribution of these industries to the UK, and to identify the opportunities and threats they faced. The Mapping Document also helped set a blueprint for action for both Government and the industries.
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.