angewendete Filter: intersectorial
SeriesCentral & South America
The Institute for Cultural Concepts Hamburg talked with Christina Gleich about the status of cultural politics and management in Ecuador.
The latest ADESTE report presents the knowledge, skills, competences, and personal attributes of an "Audience Developer". Based on interviews, national, European, and international focus groups, the project gained first-hand insights from experts and practitioners active in the field of arts, culture, training and education in 11 countries.
The Culture Invest Congress calls itself the "largest industry get-together for cultural institutions and culture investors". Well, with over 50 presenting partners, 100 presentations and 36 panel discussions, all crammed into 2 intensive days, it may very well be the largest in Europe. More than anything else, the congress was an opportunity, as usual, to network and find out who is doing what and how.
Cultural organizations face the challenge of knowledge management with limited resources in day-to-day business operations. Knowledge is not (sufficiently) documented, nor is it secure with the organization because of fluctuation and irregular employment of staff. The goal of this paper by Prof. Gesa Birnkraut is to develop recommendations for the management of knowledge in cultural institutions based on theory and an online survey of 38 cultural institutions in total.
On the 16th and 17th October, the Karlshochschule International University, Germany held the conference ReThinking Management. Its aim was to critically reflect on the Western capitalist view of good management with regard to new contexts and challenges - a noble endeavor that promises to offer a lot for cultural management.
Arts and Audiences is a series of Nordic conferences on audience development and arts collaboration. In this sense it is a meeting point for cultural professionals who want to find new ways to extend audience engagement. We have talked to Camara Christina Lundestad Joof who is coordinating and co-producing this year's conference.
Is European culture visible enough in the globalized world? Why is culture from this continent often perceived as old-fashioned or even worse as out-dated? Is the export of national cultural products and services - in most European countries subsidized by the taxpayer - no longer relevant, or more relevant than ever before? Is it a huge waste of money, time, and effort or an attempt to create another form of globalization? These and several other questions concerning the export of culture are addressed by authors from different countries in order to initiate a debate about the role European cultural products and services are able to play globally.
The 5th Kufstein Summer School for Arts Management 2014 was taking place in Palea Epidavros, Greece from 1st to 7th June 2014. It was focused on e.g. a reflection about the self-screening of arts managers, white cultural spots on a map, the re-discovery of cultural values and goods.
To be treated with respect and dignity throughout an entire application process surely is not too much to ask for. However, this sadly isnt standard practice. The poor treatment of job applicants is not a rare event. Steven Libman proposes an Applicants Bill of Rights.
When Esplanade Theatres on the Bay opened in 2002, we were very clear that as Singapores national performing arts centre, we would be more than just an arts venue. We wanted to help make the arts an important part of peoples lives. To do that, our programmes needed to connect with the countrys diverse audiences, we needed to make the arts accessible for everyone to enjoy, and we also had to nurture audiences of all ages and backgrounds to engage with the diversity of arts and culture.
After graduating from university, highly educated people frequently start working as interns and then find themselves in an endless loop of internships. This situation is even worse considering that only few of them get paid. In addition to that, internships only seldomly come with job description and performance feedback is rarely given.
A healthy culture aligned with ethical values is what distinguishes the great arts institutions. But what does the sustainability of an arts organization depend on? In which way are different stakeholders affected and what does the leaders role look like?
Arts organisations and museums in UK will have been scrambling to get their grant applications into the Arts Council today. And they should be worried. The news in all of the culture pages in newspapers is bleak. Stories abound about local authority cuts and Arts Council cuts, and rightly so, because without investment the arts and cultural industries are at risk.
We hear economists and elected officials touting that the recession has ended and yet we all know far too many people still out of work, and for those of us in the arts, we know of too many organizations that have filed for bankruptcy or have never recovered from the recession. Its important to carefully read through the hype and honestly determine the status of the arts, and when we do, what we see is a landscape that is less rosy than the one painted by economists.
IFACCA launched a Good Practice Guide on Arts Advocacy: Advocacy arguments and an overview of national arts advocacy campaign case studies and good practice.
As the knowledge-based economy increasingly takes over our lives it is appropriate to pause and reflect on how we earn and how we pay? What most people do not realize is that the answer to both questions varies dramatically between the two great legal traditions of the West - Common Law & Equity in the Anglosphere and the European Civil Code tradition in the rest of the world.
The manual provides guidance for States Parties and all those involved in the care of World Heritage cultural properties on how to comply with the requirements of the World Heritage Convention.
Since the World Heritage Convention was adopted in 1972, the World Heritage List has continually evolved and is growing steadily. With this growth, a critical need has emerged for guidance for States Parties on the implementation of the Convention. Various expert meetings and results of the periodic reporting process have identified the need for more focused training and capacity development in specific areas where States Parties and World Heritage site managers require greater support. The development of this series of World Heritage Resource Manuals is a response to this need.
The 17th edition of the Journées de la culture will be held on September 27, 28 and 29, with the theme: Participating is protecting culture. For three days, the general public is invited to immerse itself in the arts, to celebrate creativity and to help protect and promote culture by participating in the thousands of free activities taking place throughout Quebec.
The numerous workshops, guided tours, talks, performances and demonstrations will draw participants into the cultural heart of their community. This profusion of activities is put on by cultural organizations, artists, schools, municipalities and businesses, which are all gearing up to offer their fellow citizens a unique and inspiring experience in the various artistic disciplines.
A Closer Look at Museum Studies Programs
While an increasing number of post-secondary institutions have begun to offer museum studies programs, many current graduates, however, are faced with dwindling job prospects due to a shortage of opportunities in the profession. Nancy Villa Bryk, an Assistant Professor of Historic Preservation at Eastern Michigan University, suggests that program administrators should consider implementing a system akin to that of American Bar Association, which requires accredited law schools to follow post-graduate placement, and make the information available to prospective students. Addressing these caveats publicly, she says, may enable prospective students to make more informed university choices.
We were saddened to hear of the death of Professor Colin Mercer on 4 July 2013. He was the United Kingdoms first Professor of Cultural Policy and Director of the Cultural Policy and Planning Research Unit at The Nottingham Trent University from 1999-2003.