The UNESCO World Heritage Convention is one of the most widely ratified international treaties, and a place on the World Heritage List is a widely coveted mark of distinction. Building on ethnographic fieldwork at Committee sessions, interviews and documentary study, the book links the change in operations of the World Heritage Committee with structural nation-centeredness, vulnerable procedures for evaluation, monitoring and decision-making, and loose heritage conceptions that have been inconsistently applied. As the most ambitious study of the World Heritage arena so far, this volume dissects the inner workings of a prominent global body, demonstrating the power of ethnography in the highly formalised and diplomatic context of a multilateral organisation.

An innovative examination of the ways in which dance and philosophy inform each other, Dance and Philosophy brings together authorities from a variety of disciplines to expand our understanding of dance and dance scholarship. Featuring an eclectic mix of materials from exposes to dance therapy sessions to demonstrations, Dance and Philosophy addresses centuries of scholarship, dance practice, the impacts of technological and social change, politics, cultural diversity and performance.

Structured thematically to draw out the connection between different perspectives, this books covers:

- Philosophy practice and how it corresponds to dance
- Movement, embodiment and temporality
- Philosophy and dance traditions in everyday life
- The intersection between dance and technology
- Critical reflections on dance

Offering important contributions to our understanding of dance as well as expanding the study of philosophy, this book is key to sparking new conversations concerning the philosophy of dance.

Middle Eastern American Theatre explores the burgeoning Middle Eastern American theatre movement with a focus on Arab American, Jewish American, Armenian American, Iranian American, and Turkish American theatres, playwrights, directors, and actors. By exploring the rich religious and cultural heritage of this diverse group - which includes Arabs, Armenians, Iranians, Jews, and Turks - and religions that include the Baha'i faith, Christianity, Chaldean, Druze, Ishik Alevism, Judaism, Islam, Mandaeism, Samaratin, Shabakism, Yazidi, and Zoroastrianism - the rich and paradoxical nature of the term 'Middle Eastern' is interrogated through the dramas written and performed by those in the Diaspora.

Featuring a clear introduction and examination of the context and the various push and pull factors that have contributed to the mass migrations to North America - including the so-called "Great Migration" of 1890-1915, the Armenian Genocide, the European Holocaust, the two world wars, the Israeli/Palestinian conflict, and other social and political conflicts. With chapters devoted to Arab American, Israeli American, Iranian American and Turkish American theatre, Middle Eastern American Theatre traces the history and examines the work of key artists and directors including Heather Raffo, Yussef El Guindi, Jamil Khoury, Mona Mansour, Danny Bryck, Ken Kaissar, Ari Roth, Torange Yeghiazarian, Reza Abdoh, Sedef Ecer, Torange Yeghiazarian, of Golden Thread Productions, and Jamil Khoury, of Silk Road Rising.
The volume provides readers with a deeper and more nuanced understanding of millions of Middle Eastern Americans, and how they have contributed to American theatre today.

Drama teaching is at a critical juncture. With new qualifications in the market, changes in government approach to the arts in education and hundreds of thousands of students wanting to be part of the country's hugely successful performing arts industry, the pressures on drama teachers are enormous.

Many don't have a specialist background in drama and theatre and end up taking on the role of drama teacher; others feel disconnected from current theatre practice because of the time-demands of teaching; plenty of drama teachers feel they could be serving their students better, if only they had the resources and the support. For all of those teachers, this book will come as welcome relief.

The Drama Teacher's Survival Guide provides support, inspirational ideas and rock-solid guidance for secondary drama teachers. It outlines the fundamental principles of a creative drama curriculum, and looks at how teachers can facilitate this and deliver inspiring lessons to fulfill the potential of their learners. It addresses head-on the common and numerous challenges that drama teachers face, from having to design their own creative curriculum to understanding how students learn. The author's own advice and expertise is supplemented by case studies, thereby collating and offering up the best advice and experience available.

The market analysis captures the figures behind European CCS’s growth before the pandemic. It also outlines the key trends that are reshaping the CCS in light of digitisation and technological innovation, increased environmental consciousness, new business models and more collaborative ways of working.

The USSR's Writer's Union, a form of cultural and political organization unknown in the West, has ruled every aspect of Russian writers' private and professional lives from the time of Stalin to the present day. This sophisticated and detailed study shows how the union has operated over the last five decades.

Dance Education redefines the nature of dance pedagogy today, setting it within a holistic and encompassing framework, and argues for an approach to dance education from a soci-cultural and philosophical perspective.

In the past, dance education has focused on the learning of dance, limited to Western-based societies, with little attention to how dance is learned and applied globally. This book seeks to re-frame the way dance education is defined, approached and taught by looking beyond the privileged Western dance forms to compare education from different cultures.

Structured into three parts, this book examines the following essential questions:

- What is dance? What defines dance as an art form?
- How and where is dance performed and for what purpose?
- How do social contexts shape the making and interpretation of dance?

The first part covers the history of dance education and its definition. The second part discusses current contexts and applications, including global contexts and the ability to apply and comprehend dance education in a variety of contexts. This book opens up definitions, rather than categorising, so that dance is not presented in a hierarchical form. The third part continues to define dance education in ways that have not been discussed in the past: informal contexts. The book then returns to the original definition of dance education as a way of knowing oneself and the world around us, ending on the philosophical application of this self-knowledge as a way to be in the world and to engage with others, regardless of background.

This textbook is a refreshing and much-needed contribution to the field of dance studies by one of the most eminent voices in the field.

Post-Traumatic Art in the City comprises an original analysis of the nexus of war, art and urban society in two specific contexts: late 20th-century Beirut and Sarajevo. With an emphasis on conceptions of the 'post-traumatic', De le Court explores how cities and art are mutually formative in war and post-war contexts, providing unique insight into the politically and psychologically driven art scenes from within the works of art themselves. Grounded in close analyses and new research, the book makes an important contribution to the fields of art history and trauma studies.

As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped potential of art museums. Each of the twenty-eight conversations in this book explores a particular topic of relevance to art institutions today and tomorrow. What emerges from the series of in-depth conversations is a composite portrait of a generation of museum leaders working to make institutions more open, democratic, inclusive, experimental and experiential, technologically savvy, culturally polyphonic, attuned to the needs of their visitors and communities, and concerned with addressing the defining issues of the societies around them. The dialogues offer glimpses of how museums around the globe are undergoing an accelerated phase of reappraisal and reinvention.

The volume brings together leading international dance scholars to offer a comprehensive guide to the field of dance research, and the contemporary
theories and methods that underpin its scholarship. For graduate students and students undertaking dissertation research this is an essential guide to the various subdisciplines, research methodologies and new directions in dance scholarship and research. The dances under investigation range from
experimental conceptual concert dance through to underground street dance practices and dance on the digital screen, and the geographic reach encompasses dance-making from European, South Asian, North American, Australian and African-Caribbean contexts.

Traversing a wealth of fascinating case studies, Rebranding Precarity shows how pop-up works to rebrand insecurity and encourages us to embrace precarity as the new normal. Revealing how urban crisis has particular temporal and spatial characteristics, defined by uncertainty, instability, fractures and gaps, it illuminates how those markers of crisis have been optimistically reimagined over the last few years, through an examination of seven logics that rebrand insecurity including within housing, labour economies and gentrifying areas. In doing so, it paints a frightening picture of how crisis conditions have become not just accepted, but are in fact desired, in today’s metropolis.

Creativity loosely refers to activities in the visual arts, music, design, film and performance that are primarily intended to produce forms of affect and social meaning. Yet, over the last few decades, creativity has also been explicitly mobilized by governments around the world as a ‘resource’ for achieving economic growth. The creative economy discourse emphasizes individuality, innovation, self-fulfillment, career advancement and the idea of leading exciting lives as remedies to social alienation. This book critically assesses that discourse, and explores how political shifts and new theoretical frameworks are affecting the creative economy in various parts of the world at a time when creative industries are becoming increasingly ‘industrialized.’ Further, it highlights how work inequalities, oligopolistic strategies, competitive logics and unsustainable models are inherent weaknesses of the industrial model of creativity. The interdisciplinary contributions presented here address the operationalization of creative practices in a variety of geographical contexts, ranging from the UK, France and Russia, to Greece, Argentina and Italy, and examine issues concerning art biennials, museums, DIY cultures, technologies, creative writing, copyright laws, ideological formations, craft production and creative co-ops.    

Analyzing the lack of diversity among opera executives, this book examines the careers of executive opera managers of color in the U.S. By interrogating the impact of race on arts managers’ careers, the author contemplates how opera might attract and retain more racially diverse arts managers to ensure its future.

• what if an inability to recruit and retain diverse executives is the primary source of opera’s challenges?
• if more racially diverse opera executives existed, would the art form persist in struggling to find its place in contemporary society?
• from where will the next generation of diverse opera managers emerge?

Libraries, archives and museums have traditionally been a part of the public sphere's infrastructure. They have been so by providing public access to culture and knowledge, by being agents for enlightenment and by being public meeting places in their communities. Digitization and globalization poses new challenges in relation to upholding a sustainable public sphere. Can libraries, archives and museums contribute in meeting these challenges?

A vibrant arts sector impacts local business, citizens, youth, artists, governments — in short, everyone! Integrating unique, authentic, creative assets that flow from the arts across multiple sectors supports community prosperity. Through mutually-beneficial partnerships, local stakeholders build a web of community resilience, one that is deep-rooted.

Leverage the Arts Ecosystem to Influence Local Prosperity is a handbook that lifts the veil on subtle but highly influential impacts the arts bring to all communities. Insights support arts advocacy and highlight how the arts bind multiple, intersecting sectors and economies, such as:

• What attracts artists to your community in the first place?
• How to construct effective partnerships that holistically support artistic, community and business evolution.
• Identifying arts ecosystem stakeholders and how they intersect.
• Strategies that guide partnership and publicity efforts, leveraging universal success.
• Why shared values, advocacy, and communication are fundamental to the process.

Contemporary music, like other arts, is dealing with the rise of »curators« laying claim to everything from festivals to playlists - but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.