Culture is constructed, negotiated, managed, and shared by various ideological, political, and moral reasonings which manifest themselves tangibly and intangibly in public monuments, architecture, memorial sites, theaters, museums, orchestras, and heritage associations. The contributions to this volume explore the intersection of cultural heritage and nationality in societies that are characterized by national, multi-national, and post-national concepts. They question the roles that cultural heritage plays in its various contexts, and the ways in which ideology functions to produce it.
This accessible, practical textbook will prepare leaders in the arts to make the best possible decisions for the financial sustainability of their organizations. Designed for individuals without formal training or previous on-the-job experience in nonprofit management or accounting, Financial Leadership for the Arts makes organizational finance simple and clear, freeing creative leaders to do their important work for communities. Governing board leaders, working professionals, and students alike will appreciate clear case studies, as well as the several chapters that examine contemporary challenges and their implications for present and future financial management, program management, and program evaluation.
Geopolitics of Digital Heritage analyzes and discusses the political implications of the largest digital heritage aggregators across different scales of governance, from the city-state governed Singapore Memory Project, to a national aggregator like Australia's Trove, to supranational digital heritage platforms, such as Europeana, to the global heritage aggregator, Google Arts & Culture. These four dedicated case studies provide focused, exploratory sites for critical investigation of digital heritage aggregators from the perspective of their geopolitical motivations and interests, the economic and cultural agendas of involved stakeholders, as well as their foreign policy strategies and objectives. The Element employs an interdisciplinary approach and combines critical heritage studies with the study of digital politics and communications. Drawing from empirical case study analysis, it investigates how political imperatives manifest in the development of digital heritage platforms to serve different actors in a highly saturated global information space, ranging from national governments to transnational corporations.
2020 was a year in which global politics radically shifted, catalyzed by the Covid-19 pandemic and the #BlackLivesMatter movement.
This book is a response to that year, asking: was it a moment or is it a movement, and what fundamental changes within the arts industry need to come out of this time?
The book includes over 20 interviews with some of the most pioneering Black cultural leaders from a wide range of senior executive positions in the arts within the UK, Europe, US and Africa.
It documents the sea of change in arts leadership at the height of the #BlackLivesMatter movement, the pressure on organizations to confront and change their racial and ethnic make-up, and shines a light on the guiding ambitions, strategic plans and visions for the future to support the ongoing decolonization of arts organizations across the world.
This book is a response to that year, asking: was it a moment or is it a movement, and what fundamental changes within the arts industry need to come out of this time?
The book includes over 20 interviews with some of the most pioneering Black cultural leaders from a wide range of senior executive positions in the arts within the UK, Europe, US and Africa.
It documents the sea of change in arts leadership at the height of the #BlackLivesMatter movement, the pressure on organizations to confront and change their racial and ethnic make-up, and shines a light on the guiding ambitions, strategic plans and visions for the future to support the ongoing decolonization of arts organizations across the world.
Introducing the business models, organisational structures, and fundamentals of orchestras, this book takes readers on a journey through the evolution of orchestra management.
The author explores the dynamics between artistic excellence and financial sustainability. Key aspects of orchestra management are examined in detail, including artistic programming, strategic planning, financial and compliance/legal matters, audience development, resilience and adaptability, governance and board relations, diversity and inclusion, partnerships, and the role of technology and innovation.
Artificial intelligence is becoming an increasingly important topic in the cultural sector. While museums have long focused on building digital object databases, the existing data can now become a field of application for machine learning, deep learning and foundation model approaches. This goes hand in hand with new artistic practices, curation tools, visitor analytics, chatbots, automatic translations and tailor-made text generation. With a decidedly interdisciplinary approach, the volume brings together a wide range of critical reflections, practical perspectives and concrete applications of artificial intelligence in museums, and provides an overview of the current state of the debate.
At a time of transformation for many arts and cultural organisations, this book provides a compact, in-depth and practical introduction to effective leadership in arts organisations. It begins with an overview of leadership theories, then moves on discuss the specific tasks and challenges of leadership in the arts, including digital leadership and remote work challenges for arts managers.
Well-balanced and concise, this book combines a sound theoretical background in management with practical knowledge from the field. The underlying view is that all employees in arts and cultural institutions are responsible for successful leadership. Bearing this in mind the overall aim of this book is to provoke interest in better leadership in the arts and to generate knowledge of leading more effectively. It will be of interest to academics in the field of cultural management, creative industries management, heritage management and leadership in the arts. Additionally, it will be of interest to professionals working in these fields and explores topics that affect every leader in the arts sector, including typical framework conditions, the most important leadership tasks and responsibilities and individual leadership styles and principles.
This book engages with contemporary cultural production in Africa, focusing on theatre in Sierra Leone as main case study. The author provides coverage of, and insights into, such themes as cultural globalisation, commodification, the global creative economy, culture and development, international relations and contemporary cultural production in Sierra Leone within the context of local and global flows of people, media, images, technologies, finance and ideas.
Combining the analysis of theatre in Sierra Leone and its aesthetics with its policy, structural and institutional context, this book highlights in much detail and nuance the interconnectedness between the micro- and the macro-levels of cultural production, between the local and the global, and between aesthetics, politics, policy, governance structures and institutions. This book links the particular findings from the author’s fieldwork to larger issues of contemporary local cultural production within the context of globalisation, commodification and decolonisation; adds a postcolonial perspective to existing theories and approaches to cultural production, management and policy, which is still largely missing from the existing discourse; and also contributes to addressing the gap in the knowledge about the context of contemporary cultural productions in diverse African contexts.
This book will be particularly useful for both theatre scholars with an interest in the political economy of theatre and, more broadly, those seeking to understand the nuanced challenges and opportunities faced by policymakers, artists and arts managers to embrace the cultural and creative industries in this context. It also offers excellent insights for policymakers who wish to improve their understanding and interventions beyond superficial ‘best practice’ snippets and simplified ‘success stories’.
This book provides the first compact knowledge base on diversity & inclusion (D&I) targets in the UK screen industries. Drawing on new, in-depth industry research and progressive theoretical voices, the book will help readers understand what D&I targets are and what they could be in the future. The book explains different types of D&I targets, how D&I targets are currently used and how they might be developed to strategically drive inclusion. D&I targets are an increasingly common feature of the screen industries, but there is little evidence and guidance on how to use them well. This book addresses that gap. The book offers, for the first time, a unifying terminology for D&I target setting in the UK screen industries, including for transorganisational D&I targets (targets set by one organisation for another). It is based on a cross-industry review of D&I target setting in the UK screen industries, using evidence from industry and academic research.
This book provides the first compact knowledge base on diversity & inclusion (D&I) targets in the UK screen industries. Drawing on new, in-depth industry research and progressive theoretical voices, the book will help readers understand what D&I targets are and what they could be in the future.
The book explains different types of D&I targets, how D&I targets are currently used and how they might be developed to strategically drive inclusion. D&I targets are an increasingly common feature of the screen industries, but there is little evidence and guidance on how to use them well. This book addresses that gap. The book offers, for the first time, a unifying terminology for D&I target setting in the UK screen industries, including for transorganisational D&I targets (targets set by one organisation for another). It is based on a cross-industry review of D&I target setting in the UK screen industries, using evidence from industry and academic research.
Providing a unique knowledge base on diversity & inclusion targets in the UK screen industries, this book will be of value to researchers, industry experts, practitioners, policy makers, campaigners and anyone who needs to understand D&I targets - to advise on them, to set and achieve them and to advocate for their effective, inclusive use.
Workers in the creative industries are highly motivated, resilient, and innovative and these characteristics have come to the fore during the global health and resultant economic crises enveloping the world. This shortform book analyses transformation in the arts as a result of this era of polycrisis.
The author interrogates public policy, legislative developments, and financial support systems to assist the arts sector around the world. Utilising interview responses from various artists and creatives, the book takes the impact of the Covid-19 pandemic on the global creative industries as its central case study. It looks at the historical relationship between art and times of global crises, the policy initiatives implemented around the world in response to Covid-19 to rescue and support creative industries, explores the ways in which audiences, artists, and creatives responded during the first year of the pandemic, and looks towards future opportunities for the creative industries sector. The book also highlights the importance of higher education for the future creative industries workforce.
Providing a concise, yet holistic interpretation of the early impact of the pandemic, the book summarises recent developments, and proposes future directions relevant to students and scholars involved in the creative economy.
At the core of this book is a series of conversations with five British artist Black women who exhibited in both Lubaina Himid's 1985 The Thin Black Line and 2011 Thin Black Line(s) exhibitions: Sutapa Biswas, Sonia Boyce (OBE), Lubaina Himid (MBE, Turner Prize nominee), Claudette Johnson and Ingrid Pollard. The conversations explore their memories of art education and early careers,their experiences in the Black Arts Movement of the 1980s, and their responses to the exhibition Thin Black Line(s) at Tate Britain in 2011, a quarter of a century after the original installation at the ICA in 1985, to reflect upon the issues of race and gender over that period in terms of how Black artist women have collaborated, made art, organized and conversed despite the failure of the British art institutions to sustain, conserve and study their work.
Specifically avoiding the classic form of the artist interview, this book draws on a methodology not used in art history before: Constructivist Grounded Theory, which arrives at new theories of how individuals experience the world and act in it through analysing discourse generated in informal but structured conversation that seeks to discover new knowledge, rather than to impose existing theoretical models or concepts on experience as delivered in speech.
Voices of Art, Belonging and Resistance is an analysis of the structural racism of British art institutions as experienced by Black subjects, and it also inflects that larger issue specifically with issues of gender and sexuality. Avoiding the now much abused concept of intersectionality, the method allows the intricacies of race, class, gender and sexuality to be in play at all times across the accounts of life experience as artists of the subjects being interviewed and the analysis of the discourse thus generated and art historically and culturally analysed.
Specifically avoiding the classic form of the artist interview, this book draws on a methodology not used in art history before: Constructivist Grounded Theory, which arrives at new theories of how individuals experience the world and act in it through analysing discourse generated in informal but structured conversation that seeks to discover new knowledge, rather than to impose existing theoretical models or concepts on experience as delivered in speech.
Voices of Art, Belonging and Resistance is an analysis of the structural racism of British art institutions as experienced by Black subjects, and it also inflects that larger issue specifically with issues of gender and sexuality. Avoiding the now much abused concept of intersectionality, the method allows the intricacies of race, class, gender and sexuality to be in play at all times across the accounts of life experience as artists of the subjects being interviewed and the analysis of the discourse thus generated and art historically and culturally analysed.
While institutional critique has long been an important part of artistic practice and theoretical debate in the visual arts, it has long escaped attention in the field of music. This open access volume assembles for the first time an array of theoretical approaches and practical examples dealing with New Music’s institutions, their critique, and their transformations. For scholars, leaders, and practitioners alike, it offers an important overview of current developments as well as theoretical reflections about New Music and its institutions today. In this way, it provides a major contribution to the debate about the present and future of contemporary music.
This book seeks to better understand the processes and influences that have driven professionalization in the arts. It develops an analytical framework that examines how processes of professionalization that typically influence and shape work conditions and occupational status are, in the creative sector, augmented by atypical worker efforts and choices to self-structure their protean careers.
The book brings together a collection of works that explore the specific trajectories of professionalization in a variety of creative occupations as well as the formative processes that work across many creative occupations. In particular, the scholarship presented focuses on the interaction of three key variables: field growth and institutionalization, mutual benefit organization within fields and occupations, and the intervention of cultural policy to validate and foster professional support structures. In the broader context of expanding globalization, growing awareness of diversity, and tectonic shifts in technology, this volume unveils research-based implications for cultural policy, cultural workers, and cultural organizations.
This book will be of interest to researchers, creative professionals, as well as undergraduate and graduate-level students in the fields of arts administration and culture.
Who funds creative and cultural projects, and why? This insightful book analyses how the arts have been funded in a variety of political environments, helping readers understand how politics and economics intersect to support cultural life.
Employing the UK Arts Council as an historical case study, the author explores the politics of arts funding and how artists and audiences adapt their behaviour around evolving incentives. In focusing on how arts funding has worked in practice, the book allows readers to develop their understanding of economics principles in the cultural sector.
With a balance between historical and contemporary themes, the book provides fundamental insights into cultural economics and policy. As such it is required reading for students and practitioners who want to know how arts funding professionals make decisions.
Museums and Societal Collapse explores the implications of societal collapse from a multidisciplinary perspective and considers the potential museums have to contribute to the reimagining and transitioning of a new society with the threat of collapse.
Arguing that societal collapse is underway, but that total collapse is not inevitable, Janes maintains that museums are well-positioned to mitigate and adapt to the disruptions of societal collapse. As institutions of the commons, belonging to and affecting the public at large, he contends that museums are both responsible and capable of contributing to the durability and well-being of individuals, families, and communities, and enhancing societal resilience in the face of critical issues confronting our species. Within the pages of this groundbreaking book, Janes demonstrates how museums and their staff, as key civic resources with ethical responsibilities, can examine the meaning and value of their work, how that work is organized and managed, and to what end. This is a call to action, demonstrating how museums can move the conversation about collapse into society at large.
Museums and Societal Collapse will be essential reading for museum professionals working in museums and galleries, as well as for cultural and civil society organizations around the world. It will also be an essential reading for academics and students of Museum and Heritage Studies, Gallery Studies, Heritage Management, and Arts Management.
Alarming environmental shifts and disasters have raised public awareness and anxieties regarding the future of the planet. While planetary in scale, the negative effects of this global crisis are distributed unequally, affecting some of the already most fragile communities most intensely, thus contributing to rising global inequality. The pairing of environmental crises and a sense of inadequacy facing hitherto celebrated models of citizenry informs a current spirit of the times. The contributors to this volume place ethnographic or world cultures museums at the centre of these debates - these museums have been embroiled in longstanding debates about their histories, collections, and practices in relation to the colonial past.
Finance for the Arts in Canada, 2nd edition, is a unique Canadian reference guide, self-study resource and textbook for the accounting and financial management functions in not-for-profit cultural organizations.
This outstanding book delivers excellent instructional value in clear language. Young’s comprehensive approach to the technical aspects of cultural management yields an indispensable resource for anyone concerned with the financial success of their organization.
Volume 1: Accounting & Financial Statement Preparation covers the technical essentials. Volume 2: Financial Management (appearing December 2023) addresses planning and decision-making processes contributing to sound financial management.
This book explores young Cambodians’ perceptions of their place in today’s society and how they interact with the country’s arts and culture scene. The popularity of Cambodian hip-hop among youth presents an opportunity for research to dive deeper into the roles of popular music in society and how these roles, in turn, shape Cambodian cultural identities.
Research on the above-mentioned topic by local researchers is scarce. There is a gap in the research on the topic of identity, its connection to arts and culture, and how these two are positioned in a broader context of Cambodian identity politics and cultural economy. This book aims to provide a starting point for observation and conversation about youth cultural identities and the subtexts of certain narratives disseminated through music. The book contributes to the global research agenda by adding to the few voices in academia looking at localised models of cultural economies and trying to understand them based on local phenomena observed through local lenses.
Utilising the author’s perspective and social experiences as a Cambodian researcher growing up and living in Cambodia, the book provides a unique perspective of the country’s cultural landscape. This will make the book of interest to all scholars of international cultural policy and the global creative economy, especially those with a particular interest in Cambodia.