The advancement of the Digital World has indeed had an incredible impact upon the music industry, with dramatical effects. Some changes that are taking place include the removal of the geographic boundaries that have traditionally existed with the current copyright system, and the redistribution of income within the industry. It can be seen that attempting to maintain excludibilty using copyrights on music is no longer feasible. Artists and authors should therefore attempt to reap the rewards of their creative intellectual property by evolving and taking advantage of what the internet can offer rather than treating it as an infliction upon the industry structure as it was. The need for intermediaries will not vanish but their importance will lessen. It seems at present that the Steven King strategy will become more popular amongst artists, but the main transformation will occur when the Big Five join forces so that all labels will be available from the same source. Battles against piracy will continue to be problematic particuarly while the cost of music is dear. It is hoped that in the future it will be possible that consumers will pay lower prices for both physical and digital products and as a result be rewarded with a broader variety of music.
Arts and culture reflect open society values and influence public attitudes, yet they seldom receive adequate recognition and resources from either governments or society. To counteract the lack of support, the Arts and Culture Program promotes cultural and artistic collaboration throughout the Soros foundations network; fosters structural changes in cultural policy; and helps develop an autonomous and innovative arts sector. The program's primary goal is to stimulate cultural activities while respecting and celebrating differences among countries.
When a city as young as Miami lacks deep-pocketed philanthropists, private foundations and a broad and generous corporate base, the community turns to government to fund the arts.
But state legislators and local officials -- who oversee the majority of public funding for the arts -- oppose raising taxes to fund the arts, particularly when a down economy creates shortages for education, health care and public safety.
But state legislators and local officials -- who oversee the majority of public funding for the arts -- oppose raising taxes to fund the arts, particularly when a down economy creates shortages for education, health care and public safety.
New York, NY, June 9, 2003The Foundation Center and Grantmakers in the Arts (GIA) announce the release of Arts Funding.
Preoccupation with board performance has grown over the last ten years and at an accelerating pace more recently, following revelations of both incompetence and misconduct in leading corporations and a number of non-profits, from Enron to War on Want. For cultural organisations, incompetent direction and leadership has been the main culprit rather than avarice. Faltering artistic vision, critical opprobrium, declining audiences, rash over-expansion or financial deficits do not happen over-night but are usually translated into the less judgemental language of external threats or operating challenges such as funding cuts, revenue declines and marketing failures.
Organisations rarely take a step back and look critically at the most senior leadership team the board and its chief executive and the value they can add or the potential they have for crippling the organisation.
For the most part, the responsibilities of these two positions can be formally separated and clearly differentiated. The board and the chief executive should be a team with complementary skills, committed to a common purpose and approach for which they hold themselves accountable.
Organisations rarely take a step back and look critically at the most senior leadership team the board and its chief executive and the value they can add or the potential they have for crippling the organisation.
For the most part, the responsibilities of these two positions can be formally separated and clearly differentiated. The board and the chief executive should be a team with complementary skills, committed to a common purpose and approach for which they hold themselves accountable.
A research published by British Arts Festivals Association confirms the measurable contribution made by arts festivals to the cultural and economic wealth of the nation.
American art museums face challenges of a magnitude unsurpassed in recent history. They are overwhelmed by a confluence of contemporary internal and external events. Some are dramatically referring to the situation as the Perfect Storm. While this may be overstating the situation (and one hopes, not indicating a similar ending), it is a serious situation.
Unlike a recently published McKinsey study, I will not recommend the obvious, that nonprofit executives concentrate on high-level donors or use the Internet for fundraising. Nor will I insult museum managers by suggesting that they may solve their organizations problems by being more efficient or working smarter. I believe the solutions are not simple and tactical, but rather require broader strategic actions.
This paper covers four areas:
- The current situation in American art museums;
- Some of the consequences, actual and inherent, that are the results of this situation;
- A series of recommendations on how to insure that museums emerge healthier and stronger;
- And finally, with the readers indulgence, my views about the long-term situation museums are likely to face, even after they have weathered this crisis.
Unlike a recently published McKinsey study, I will not recommend the obvious, that nonprofit executives concentrate on high-level donors or use the Internet for fundraising. Nor will I insult museum managers by suggesting that they may solve their organizations problems by being more efficient or working smarter. I believe the solutions are not simple and tactical, but rather require broader strategic actions.
This paper covers four areas:
- The current situation in American art museums;
- Some of the consequences, actual and inherent, that are the results of this situation;
- A series of recommendations on how to insure that museums emerge healthier and stronger;
- And finally, with the readers indulgence, my views about the long-term situation museums are likely to face, even after they have weathered this crisis.
THE Scottish public is to be asked for its views on arts and culture in a series of forums.
The consultation by the Scottish Arts Council could also see people being asked to leave their opinions in video diary booths.
Graham Berry, the director of the SAC, which distributes around £60m in funding a year, is to launch the forums as another stage in his reorganisation of the quango, which is on the verge of a major review of its form and function by the executive and Frank McAveety, the new arts minister.
Mr Berry said the forums would inform the SAC what the general public wants from the arts, what its interests and concerns are - as well as letting the public know the SAC is interested in its views....
The consultation by the Scottish Arts Council could also see people being asked to leave their opinions in video diary booths.
Graham Berry, the director of the SAC, which distributes around £60m in funding a year, is to launch the forums as another stage in his reorganisation of the quango, which is on the verge of a major review of its form and function by the executive and Frank McAveety, the new arts minister.
Mr Berry said the forums would inform the SAC what the general public wants from the arts, what its interests and concerns are - as well as letting the public know the SAC is interested in its views....
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."
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."
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).
The Business of Music. 11th IAMA International Conference
Friday 20 - Sunday 22 April, 2001
Gewandhaus zu Leipzig, Germany
The International Artist Managers' Association (IAMA) was proud to be in Leipzig first time to hold the 11th annual international conference entitled "The Business of Music".
Leading artist managers and concert agents from UK, USA, Netherlands, Germany, France and other countries has been talking about the current business of classical music and its future development facing new technologies, less customers and audiences and other important challenges. The delegates has felt inspired from the warm athmosphere to improve the knowledge about the business and refresh friendships with long talks between the sections. The network was there and could building up interesting contacts to raise its services, too.
Friday 20 - Sunday 22 April, 2001
Gewandhaus zu Leipzig, Germany
The International Artist Managers' Association (IAMA) was proud to be in Leipzig first time to hold the 11th annual international conference entitled "The Business of Music".
Leading artist managers and concert agents from UK, USA, Netherlands, Germany, France and other countries has been talking about the current business of classical music and its future development facing new technologies, less customers and audiences and other important challenges. The delegates has felt inspired from the warm athmosphere to improve the knowledge about the business and refresh friendships with long talks between the sections. The network was there and could building up interesting contacts to raise its services, too.
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.