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.
angewendete Filter: intersectorial
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.
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.
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.
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 offers an original critical evaluation of how freelance careers can be established and sustained in the increasingly uncertain global creative economy.
Developing from the author’s theoretical and empirical research at the nexus of precarious work and entrepreneurial learning, it provides an in-depth understanding of why and how creatives can learn to become entrepreneurial and how this relates to creative entrepreneurship. This book traces how arts work became creative labour and explores the contemporary organisation of artistic and creative practices to understand practical alternatives to the individualised careers we currently feel responsible for maintaining. Inspired particularly by the work of Raymond Williams, creative work is reconceptualised as practice-based collaborative learning encounters through which we might put shared feelings of precarity to work towards the production and practice of alternative possibilities.
The accessibility of cultural resources via digital platforms is empowering Vietnamese cultural professionals to promote their culture to local and international audiences.
This shortform book investigates the significance of digitization in Vietnamese culture, illuminating how cultural professionals are empowered through the process of digitization. The author shows how digitization is not an entirely comprehensive, ethical, or sustainable solution for the cultural sector in Vietnam, as cultural professionals working at nonprofit art spaces and artists experience both opportunities and challenges in digitizing art and culture.
Drawing on new interviews with cultural professionals working in the cultural sector in Vietnam, the book will be of interest to scholars and reflective practitioners involved with the cultural and creative industries in South East Asia and globally.
Cultural Heritage and Tourism in Africa examines the multiple and diverse manifestations of cultural heritage-based tourism in Africa from a regional, social science, and sustainability perspective.
Heritage is one of the most pervasive tourism assets worldwide and lies at the foundations of tourism in many localities, including Africa. However, despite its salience, there has not been a systematic examination of Africa’s heritage resources, markets, policies, practices, successes, and challenges in a tourism framework, despite the continent’s immense heritage value. This book reviews the different types of heritages that pervade the cultural environment of Africa and comprises its vast heritagescapes. It also examines the increasing potential for the growth of heritage tourism throughout the entire continent. The contributions in this volume delve into current thinking about space and place and their effects on heritage, mobilities, globalization, colonialism and indigeneity, conflict, identity and nation-building, connections with other regions through migration and the slave trade, and a greater emphasis on the ordinary heritage of Africa, which has long been ignored by tourism scholars and industry representatives. The chapters herein are authored by Africa specialists, most being from Africa, offering a truly African perspective. The chapters are conceptually rigorous and empirically rich with examples from all regions of the African continent.
This unparalleled interdisciplinary glimpse at cultural heritage and tourism in Africa delivers strong value and is a vital resource for all students and researchers of tourism, cultural studies, heritage studies, geography, anthropology, sociology, history, and global studies.
This book is based on the topics, questions and results of the international conference "Aesthetics of Transformation - Arts Education Research and the Challenge of Cultural Sustainability". It aims to foster and sharpen the understanding of the potential role of arts education and arts education research for cultural sustainability. In an ever more complex and interconnected world, culture is a valuable resource for sustainable development. Based on the thesis that the change towards sustainability has to be a change that starts with cultural practices of perception and knowledge, this book makes an important contribution to the broad discourse on cultural sustainability, which has begun to emerge in recent years.
Managing cultural organizations requires insight into a range of areas including marketing, fundraising, programming, finances, and leadership. This book integrates practical and theoretical insights, blending academic and practitioner voices to help readers "speak the language" in the creative industries.
Including coverage of the management of theaters, dance companies, galleries, and performance spaces, evaluation, marketing, fundraising, activism, and policy, the book benefits from a range of features. With contributions from a team of international experts, this book provides a one-stop-shop for students of arts and cultural management and will also provide a valuable resource for those currently in the field.
Managing cultural organizations requires insight into a range of areas including marketing, fundraising, programming, finances, and leadership. This book integrates practical and theoretical insights, blending academic and practitioner voices to help readers "speak the language" in the creative industries. With contributions from a team of international experts, this book provides a one-stop-shop for students of arts and cultural management and will also provide a valuable resource for those currently in the field.
This book is about co-leadership: A leadership practice and structure often found in arts organizations that consist of two or three executives who bridge the art and business divide at the top.
Many practitioners recognize this phenomenon but the research on this topic is limited and dispersed. This book assembles a coherent overview and presents new insights of the field. While co-leadership is well institutionalized in the West, it is also criticized for management’s constraint of artistic autonomy and for its pluralism that dilutes leadership clarity. However, co-leadership also personifies the strategic objectives of art, audiences, organization, and community, by addressing plural logics - navigating the demands of artistic vision and organizational stability. It is an integrating solution. The authors investigate its specifics in the arts, including global practice and its interdisciplinary nature. The theoretical frame of plural leadership supports their empirical explorations of the dynamics within the co-leadership relationship and with organizational stakeholders. Data includes the voices of co-leaders, artists, staff, and board members from arts organizations in Canada and Norway. Their abductive reflection generates a stimulating research experience.
By viewing co-leadership in action, not as a study of static theories, the book will appeal not only to students and researchers but also resonate with practitioners in arts and cultural management and assist them to work with co-leadership and to manage its tensions.
This fully updated new edition covers digital trends in the arts and emerging technologies, including virtual reality, streaming services, and branded entertainment. It also broadens the scope of investigation beyond the West looking to film in emerging markets such as China, music in Sub-Saharan Africa, and indigenous art in Australia. Alongside in-depth theoretical analysis, this edition of Marketing the Arts takes inspiration from the creativity inherent in current artistic practice to demonstrate a plurality of approaches and methodologies. Marketing the Arts: Breaking Boundaries is core reading for advanced undergraduate and postgraduate students studying arts marketing and management.
Cultural Heritage Management in Africa explores the diversity of Africa’s cultural heritage by analysing how and why this heritage has been managed, and by considering the factors that continue to influence management strategies and systems throughout the African continent.
Including contributions from prominent scholars and heritage professionals working across Africa, the volume presents critical, contemporary perspectives on the state of heritage in the area. Chapters analyse the practices that emanated from different colonial experiences and consider what impact these had - and continue to have - on the management of African heritage. It also critically examines the ideological influence of independence movements on the African continent’s management and remembering of heritage, and considers whether there are any differences in heritage management between countries that experienced armed conflicts and those that did not. The volume will be the first to critically assess the state of heritage management now, at a time when vital conversations about the balance between heritage and development is ongoing and the actions of new players have begun to impact the management and practice of heritage in the region.
Cultural Heritage Management in Africa will be essential reading for those engaged in the study of museums and heritage, development, archaeology, anthropology, history and African studies. It will also be of interest to heritage and museum professionals who wish to learn more about the decolonisation of heritage.
This open access book examines how and why the UK's approach towards increasing cultural participation has largely failed to address inequality and inequity in the subsidised cultural sector despite long-standing international policy discourse on this issue. It further examines why meaningful change in cultural policy has not been more forthcoming in the face of this apparent failure. This work examines how a culture of mistrust, blame, and fear between policymakers, practitioners, and participants has resulted in a policy environment that engenders overstated aims, accepts mediocre quality evaluations, encourages narratives of success, and lacks meaningful critical reflection. It shows through extensive field work with cultural professionals and participants how the absence of criticality, transparency, and honesty limits the potential for policy learning, which the authors argue is a precondition to any radical policy change and is necessary for developing a greater understanding of the social construction of policy problems. The book presents a new framework that encourages more open and honest conversations about failure in the cultural sector to support learning strategies that can help avoid these failures in the future.
Combining an economic perspective with sociological and historic insights, this book investigates the separation of ‘popular’ and ‘serious’ art over a period of almost two centuries. As the boundaries between our perceptions of established art and popular become more porous, Abbing considers questions such as: Who benefitted from the separation? Why is exclusivity in the established arts so important? Did exclusivity lead to high cost, high subsidies and high prices? Were and are underprivileged groups excluded from art consumption and production? How did popular music become so successful in the second half of the twentieth century? Why does the art profession remain extraordinarily attractive for youngsters in spite of low incomes? The book also discusses the evolution of art in the twenty-first century, considering for example how the platform economy affects the arts, whether or not the established arts are joining the entertainment industry, and the current level of diversity in art. Written from the dual perspective of the author as an artist and social scientist, the book will be of interest for cultural economists and academics as well as artists and general readers interested in art.
This publication is about humans and their preferably democratic future living with machines, in addition to the role that the arts and culture play in this complex environment. The renowned contributors suggest that the public dialogue concerning our shared future needs to be broadened. Just as in past periods of rapid technological progress, contemporary creators and thinkers are now tapping into the excitement of artificial intelligence (AI) and inviting us to critically reconsider the complexities of the human condition and the ambiguity of our relationship with science and technology. Both academic reflections on AI and insights into AI-powered artistic expressions will provide readers with entry points to further investigate what algorithms can and should do for society and the planet.
This book is the third publication out of the Arts, Entrepreneurship, and Innovation (AEI) Lab that focuses exclusively on research that empirically investigates crossovers between arts, entrepreneurship and innovation. This volume does so specifically by using the lens of cultural economics. The chapters in this volume have been chosen not only because they have clear implications for policy and practice, but also because they contribute to theories of value creation in the cultural and creative industries. As a whole, this book addresses relationships between arts, entrepreneurship and innovation for workers, firms, and industry to bring clarity to how value is created in the arts.
This textbook provides an expert overview of the challenge of arts and cultural leadership in the contemporary world. Grounded in theories of sustainability and with a renewed global focus for this second edition, the author’s insights from contemporary arts organizations facilitate meaningful student comprehension.
Drawing on the work of practitioners and theorists in the fields of philosophy, biology, and ecology as well as the arts, Foster proposes a rethinking of organizational design, strategy, and structure that is based on ecological concepts and the creative process that is intrinsic to the arts rather than the conventional business model that currently prevails, particularly in western arts and culture organizations. He contests conventional thinking about arts administration and management and urges arts leaders to foreground innovation as they reimagine their organizations for a world unlike any other. New sections include an enhanced theoretical discussion as well as new material on business models, strategy, and organizational design and practice. Applicable to any arts organization, the entrepreneurial focus is especially relevant in the aftermath of the global pandemic, the ongoing climate crisis, and the quest for democracy and social justice.
This book explores the role of national theatres, national cultural centres, cultural policy, festivals, and the film industry as creative and cultural performances hubs for exercising soft power and cultural diplomacy. It shows how can existing cultural and non-cultural infrastructures, sometimes referred to as the Orange Economy, open opportunities for diplomacy and soft power; ways by which cultural performance and creative practice can be re-centered in post-colonial Africa and in post-global pandemic era; and existing structures that cultural performers, diplomats, administrators, cultural entrepreneurs, and managers can leverage to re-enact cultural performance and creative practice on the continent.
This volume is positioned within postcolonial discourse to amplify narratives, experiences and realities that are anti-oppressive especially within critical discourse.
This volume is positioned within postcolonial discourse to amplify narratives, experiences and realities that are anti-oppressive especially within critical discourse.