Culture's embrace of holism, its attention to the total pattern of human life, and its incorporation of artistic and humanistic modes of thought make it the ideal organizing principle for a brighter and more sustainable future. The author concludes by considering how the world as culture might be brought into existence in the years ahead.

With this 2nd edition of our brochure, we are adapting the representation of the independent performing arts sector and expanding it to 13 countries in Europe. Our plan is to continue this research and provide updated information every two years. EAIPA seek to continuously provide information about the sector, focusing on those who invent, develop, realize and present the art form: artists and art professionals. We are also interested in whether and how the pandemic will affect their livelihoods, and whether policymakers and funders will use the attention and discourse to rethink and adjust policies as well as focus on better conditions for artists and arts practitioners.

In this book practitioner and scholar Louise Ann Wilson examines the expanding field of socially engaged scenography and promotes the development of therapeutic scenography as an applied art form. Offering an account of her own practice combined with case studies drawing on artworks from Early Romanticism and the Land Art movement of the 1960s, Elena Brotherus (Finland), Tabitha Moses (UK) and Marina Abramovic's autobiographical walking-work The Lovers: The Great Wall Walk (1988, China), this is the first book on the emerging area of site-specific and therapeutic scenography.

The book analyses how Wilson's interdisciplinary, site-specific walking-performances are created in rural landscapes and seek to emplace and transform a participant's experience of challenging life-events for which traditional rites of passage or ceremonies do not exist. The book explores the therapeutic effect of Wilson's practice, which becomes an instrument for personal and social change and can be understood as a form of applied performance practice. Case studies drawn from her own practice include Fissure (2011), The Gathering (2014), Warnscale (2015), Mulliontide (2016) and Women's Walks to Remember (2018). Each is illustrated and is supported by evidential material demonstrating the effects of the practice and research.

Using this series of case studies, Wilson investigates how 'transformation' is achieved through an interdisciplinarily, three-tiered methodological process and the application of the concept of the feminine sublime, which she develops into six scenographic-led principles. These principles were informed by theories and aesthetics relating to landscape, pilgrimage, Early Romanticism, and a close study of the approach of Dorothy Wordsworth and her female contemporaries to landscape.

Notions of consistency, unity and harmony have long been ideals in Western culture. These values persisted throughout the Renaissance and Neo-Classical period (the seventeenth century), even with the emergence of the cult of individualism. Today, as much as they continue to be prescriptions for art, they also inform judgements made about everything from behaviour to the output of production lines and require these things to be consistent. With the emergence of Western empires and industrialisation however, we conversely see a set of cultural practices emerge that are informed by a very different value; that of the traditionally dismissed heterogeneous. This book looks at key instances throughout visual culture where this structure has been used and coins the term 'mixed-form' for them. Addressing the other side of formal unity it looks at phenomenona like the miscellany, the collage and the anthology and archival structures such as the cabinet of curiosities and the scrapbook and compares them to their digital descendants such as the weblog and platforms such as Pinterest. By doing so, the book explores an under researched area of visual culture, that of the mixed form.

Mixed Forms of Visual Culture also discusses the reasons for the appearance of the mixed form and traces it back to the Marxist understanding of the 'division of labour' in industrial society and to Marxist accounts of post-industrial production. The book's underlying theme is the value of critically reviewing received wisdom. Presenting a history of its key term that starts with the inception of commodity culture in the sixteenth century, the book proposes that, as working life becomes increasingly defined by qualities such as singularity and uniformity, the need for the opposite finds expression in cultural form.

Music and Democracy explores music as a resource for societal transformation processes. This book provides recent insights into how individuals and groups used and still use music to achieve social, cultural, and political participation and bring about social change. The contributors present outstanding perspectives on the topic: From the promise and myth of democratization through music technology to the use of music in imposing authoritarian, neoliberal or even fascist political ideas in the past and present up to music's impact on political systems, governmental representation, and socio-political realities. The volume further features approaches in the fields of gender, migration, disability, and digitalization.

What is the heritage of our cities? Which are the monuments, places, and spaces in which it accumulates, and by which practices is it formed, handed down, appropriated? Gerhard Vinken takes the readers to twelve cities on three continents and analyses the diverse and contradictory heritage formations that have had a lasting impact on urban life. The vitality of urban heritage, as these vivid and in-depth case studies show, lies in the dynamic and often conflictual processes of social appropriation and interpretation. Covering a diverse range of themes, the book familiarizes the reader with important questions and theories in urban research and heritage studies.

What is the heritage of our cities? Which are the monuments, places, and spaces in which it accumulates, and by which practices is it formed, handed down, appropriated? Gerhard Vinken takes the readers to twelve cities on three continents and analyses the diverse and contradictory heritage formations that have had a lasting impact on urban life. The vitality of urban heritage, as these vivid and in-depth case studies show, lies in the dynamic and often conflictual processes of social appropriation and interpretation. Covering a diverse range of themes, the book familiarizes the reader with important questions and theories in urban research and heritage studies.

Written by the leading authority Charles Landry, inventor of the concept of the creative city, this timely book offers an insightful and engaging introduction to the field. Exploring the development of the concept, it discusses the characteristics of cities, the qualities of creativity, the creative and regeneration repertoires and the gentrification dilemma. Other key topics of this definitive work include ambition and creativity, cities and psychology, digitization and the creative bureaucracy. Key features include: • clear and compact style• a unique survey of contemporary developments in the field• provides a theoretical base for evaluating the concept of creative cities• considerations of the urban-sociological context of creative cities• sets an agenda for future research in the field.The Advanced Introduction to the Creative City will be an indispensable guide for scholars and students working in urban geography, urban sociology, urban planning and urban studies.

The music business is a multifaceted, transnational industry that operates within complex and rapidly changing political, economic, cultural and technological contexts. The mode and manner of how music is created, obtained, consumed and exploited is evolving rapidly. It is based on relationships that can be both complimentary and at times confrontational, and around roles that interact, overlap and sometimes merge, reflecting the competing and coinciding interests of creative artists and music industry professionals. It falls to music law and legal practice to provide the underpinning framework to enable these complex relationships to flourish, to provide a means to resolve disputes, and to facilitate commerce in a challenging and dynamic business environment.

The Present and Future of Music Law presents thirteen case studies written by experts in their fields, examining a range of key topics at the points where music law and the post-digital music industry intersect, offering a timely exploration of the current landscape and insights into the future shape of the interface between music business and music law.

The Corona pandemic has affected orchestra organizations around the globe since January 2020. Most of the ensembles were forced to stop operations during hard lockdown periods of public life. Freelance ensembles and privately funded orchestras faced even higher pressure than state funded ones. The pandemic has shown, how fragile orchestras may be. On the other hand the pandemic has brought forth a boost of creative alternatives from single musicians, from greater ensembles and from orchestra managements to upkeep operations under new physically distanced conditions and on the internet. Highest flexibility was shown in artistic planning, in creating new programs, in digital and recording work, in outreach and education activities, in new concert formats or support of pandemic-related charity campaigns. The pandemic has shown, how agile orchestras might be.The very questions are: What are the lessons learned from the pandemic challenges? What are new structural approaches for musicians and managements to rethink orchestral organizations for the post-pandemic future? How can the engagement of musicians and staff for the own organization be enhanced? How can the ties towards the members of already familiar audience groups be strengthened? Every co-author of this book is a specialist in his or her field. Together we re looking out to all aspects from which we think that orchestral organizations should take a breeze of fresh air and rethink their operations in the new normal after the pandemic. There is no step back, there only are steps forward.

Major changes are affecting the cultural sector around the world, and there is a need for new skills and knowledge in arts and cultural administration. This book features insightful interviews with 22 leading arts and cultural directors/CEOs in Hong Kong - discussing the most up-to-date trends and professional practices in this field. The institutions represented in the work are quite diverse, covering art archives, performing arts institutions, and even literary festivals and orchestras, etc. This book is of definite interest to arts and cultural administration professionals who are already practicing in the field, mid-level managers who are aspiring to advance their careers and to become future leaders, as well as general readers who just want to know more about the current state of arts management and the roles that our artists and organizations play in Hong Kong and in the global context.

KEA launches its second volume The Future of Cultural Policies to mark the 20th anniversary of the company. For over two decades KEA has been scrutinizing firsthand the evolution of EU policies in the field of culture. This new publication approaches the role cultural policy plays in a fast-changing world. It explores the evolution of cultural policies worldwide. What role do cities play in contributing to social cohesion and innovation through culture? How did KEA contribute to designing culture policy in Shenzhen (China’s Silicon Valley)? Are there new ways of funding culture and how can cultural policy participate in shaping a new Europe?

Can art provide a critique of political economy? This question, originally formulated by the romantic philosophers John Ruskin and William Morris, continues to be at the core of contemporary anti-capitalist and post-colonial struggles. As art and culture feed an urban rentierism based on gentrification, mass-tourism and hyper-consumption, art commons are radicalizing urban politics across the globe through new political and artistic practices.

Art/Commons is the first book to theorise the commons from the perspectives of contemporary art history and anthropology, focusing on the ongoing tensions between art and capitalism. Massimiliano Mollona's study is grounded in an analysis of contemporary artistic and curatorial practices, which the author describes as practices of commoning, based on co-production, participation, mutualism and the valorization of reproductive labour. Art/Commons gives stimulating first-person accounts of five projects the author conducted at the intersection of art, activism and pedagogy, ranging from participatory film projects in Brazil, Norway and the UK to his directorship of the Athens Biennale. Mollona proposes a novel theoretical approach to current debates on the commons, and shows that art can provide both a language of anti-capitalist and post-colonial critique as well as a distinctive set of skills and practices of commoning.

Every day, in dance studios all across America, millions of little girls line up at the barre and take ballet class. Their time in the studio shapes their lives, instilling lessons about gender, power, the value of their bodies and minds, and their place in the world both in and outside of dance. In Turning Pointe, journalist Chloe Angyal captures the intense love for ballet that so many dancers feel, while also grappling with its shortcomings: the power imbalance of an art form performed mostly by women, but dominated by male choreographers and ballet masters, the impossible standards of beauty and thinness, and the racism that pervades ballet. A new generation of dancers is confronting these issues head on. If ballet is going to survive the 21st century and forge a path into a more socially just future, this reckoning is essential.

The established cultural sector is facing a paradigm shift. At the center of this change is the demand to do justice to the diversity of the population. The handbook opens up strategies for implementing art practices that are critical of discrimination, and for reaching new dialogue groups. Successes in partnerships with unequal cultural institutions are analyzed, and concrete strategies for action are shown on the basis of eleven documented productions. Starting point are the insights from the artistic practice in Brunnenpassage Vienna, founded in 2007. The handbook sets practice-relevant impulses for cultural workers, artists, and cultural policy-makers.

Encouraging more - and different - people to attend the arts remains a vital issue for the cultural sector. The question of who consumes culture, and why, is key to our understanding of the arts. This book examines the relationship of audience development to cultural policy and offers a ground-breaking perspective on how the practice of audience development is connected to ideas of democratic access to culture. Providing a detailed overview of arts marketing, audience development and cultural democracy, the book argues that the work of audience development has been profoundly misunderstood by the field of arts management. Drawing from a rich range of interviews with key individuals in the audience development field, the book argues for a re-conceptualisation of audience development as an ideological function of cultural policy. Of importance for students, academics and researchers working in arts management and cultural policy, the book is also vital reading for anyone working in the arts, cultural and heritage sectors with an interest in understanding how our relationship with the audience has been constructed.