This book draws on the author’s experience as a storyteller, drama practitioner and researcher, to articulate an emerging dialogic approach to storytelling in participatory arts, educational, mental health, youth theatre, and youth work contexts. It argues that oral storytelling offers a rich and much-needed channel for intergenerational dialogue with young people.
The book keeps theory firmly tethered to practice. Section 1, ‘Storyknowing’, traces the history of oral storytelling practice with adolescents across diverse contexts, and brings into clear focus the particular nature of the storytelling exchange and narrative knowledge. Section 2, ‘Telling Stories’, introduces readers to some of the key challenges and possibilities of dialogic storytelling by reflecting on stories from the author’s own arts-based practice research with adolescents, illustrating these with young people’s artistic responses to stories. Finally, section 3, ‘Story Gaps’, conceptualises dialogic storytelling by exploring three different ‘gaps’: the gap between storyteller and listener, the gaps in the story, and the gaps which storytellers can open up within institutions.  
The book includes chapters taking a special focus on storytelling in schools and in mental health settings, as well as guided reflections for readers to relate the issues raised to their own practice.

This book gathers the best papers presented at the 11th Tourism Outlook Conference, held in Eskişehir, Turkey, from 3 to 5 October 2018. Covering various aspects of heritage and its effects on tourism issues, the contributions provide a multidisciplinary perspective on emerging issues and challenges in the area. The book also analyzes both the tangible and intangible properties of natural, cultural, and historical heritage and how these relate to and influence tourism, and evaluates the importance and role of heritage in tourism destinations and products. By providing a platform for cross-disciplinary dialogues that integrate research and insights from diverse geographical, sectoral and institutional perspectives, the book allows readers to gain a better understanding of heritage tourism.

The fame and fortune associated with theatre and visual arts attracts would-be artists. The financial rewards makes artists success symbols worthy of management. Therefore, Performing and Visual Artist Management as a Career presents the artist as an invaluable creative human resource in Theatre Performance and Visual Arts. It holds the artist as a product of rare talent, training or both with centrality in performance arts (drama, dance, music, etc) and visual arts (painting, ceramic, carving, drawing, sculpturing, etc). Hence, it advances the creative services and products of the artist towards meeting the needs of his clientele and for his professional gains. It further accentuates the importance of managing the artist, as the art business deeply requires management tactics to enable the artist to compete both at the local and international market. It takes a swipe on the social, economic and political factors that influence the artist to resonate creative prowess. Furthermore, it deepens the practicality of artist management with the objective to strengthen the artist through daunting professional challenges.

 

How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon.
The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as ‘art objects’ by Europeans; and works by contemporary artists who are taking on colonial history in their work and activism today.

Cultural economics has become well established as a subject of interest for students and teachers of courses ranging from economics to arts administration as well as for policy-makers and practitioners in the creative industries. Digitisation has had a tremendous impact on many areas of the creative economy and the third edition of this popular book fully reflects it.

The early 21st century has seen contemporary art make continued use of audience participation, in which the spectator becomes part of the artwork itself. In this book, Kaija Kaitavuori claims that the `participator' is a new artistic role that does not fall under the auspices of artist or spectator and in proving such she devises a four-group typology of involvement. Her classification distinguishes between different forms of engagement and identifies their specific features. The key criteria she proposes are how concepts of authorship and ownership shift in relation to collectively created work, how contracts regulating the use and production of shared work are arranged and the extent to which involvement in making art can be regarded as democratic. This highly original book thus offers students and teachers the tools with which to improve their understanding of participatory art and removes the confusing terminology that has characterized so many other discussions.

In 2013 Georg Baselitz declared that 'women don't paint very well'. Whilst shocking, his comments reveal what Helen Gørrill argues is prolific discrimination in the artworld. In a groundbreaking study of gender and value, Gørrill proves that there are few aesthetic differences in men and women's painting, but that men's art is valued at up to 80 per cent more than women's. Indeed, the power of masculinity is such that when men sign their work it goes up in value, yet when women sign their work it goes down. Museums, the author attests, are also complicit in this vicious cycle as they collect tokenist female artwork which impinges upon its artists' market value. An essential text for students and teachers, Gørrill's book is provocative and challenges existing methodologies whilst introducing shocking evidence. She proves how the price of being a woman impacts upon all forms of artistic currency, be it social, cultural or economic and in the vanguard of the 'Me Too' movement calls for the artworld to take action.

This  Cultural  Mobility  Funding  Guide  presents  a  mapping  of  funding opportunities for interna-tional cultural mobility, focused on the African continent. The  main  objective  of  this  cul-tural mobility funding guide is to provide an overview of the fund-ing bodies and programmes that support the international mobility of artists and cultural operators from Africa and travelling to Africa. It also aims to provide input for funders and policy makers on how to fill the existing gaps in funding for international cultural exchange.

 

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In The True North: How Canadian Creativity Changed the World, D. Paul Schafer explores the extraordinary legacy of generations of Canadian artists, inventors, scientists, politicians, and activists - a legacy of creativity that has not only shaped today’s Canada but has made a huge impact on the world as a whole.

In addition to describing the many ways in which Canadian creativity has shaped the world, the author in his concluding chapter also considers how these and other contributions might be enhanced and expanded in the years ahead, particularly in such areas as the environment, multiculturalism, the arts, and artificial intelligence.

Kulturelle Teilhabe ist in aller Munde. Sie zielt - wie politische, wirtschaftliche und soziale Teilhabe - auf die Beteiligung, Mitwirkung und Mitverantwortung der Bevölkerung am öffentlichen Leben. Kulturelle Teilhabe trägt zu gesellschaftlicher Inklusion, Kohäsion und kultureller Vielfalt bei. Das Handbuch bietet eine Übersicht zu Geschichte und Begriff der kulturellen Teilhabe, lotet die Handlungsfelder von Teilhabe aus und stellt konkrete praktische Handlungsansätze vor. Es richtet sich an Projektverantwortliche in Kultur und anderen teilhaberelevanten Bereichen sowie an private und öffentliche Förderinstitutionen, die sich für gesellschaftliche Teilhabe engagieren. Das Handbuch umfasst Beiträge auf Deutsch, Französisch und Italienisch mit Zusammenfassungen in den jeweils anderen Sprachen.

 

This book provides a broad overview of the development of Ibero-American cultural policy in an important and innovative way.

This volume brings together specialists in the field, from different nations and disciplines, and provides the keys to understanding the different trajectories and experiences of some significant countries in the area on both sides of the Atlantic; the recent developments in this domain such as urban cultural regeneration policies and cultural development policies; and the dynamics of policy transfers such as cultural diplomacy. The book also contrasts the applicability and the explanatory power of the idea of the family of nations for the analysis of cultural policy with models inspired by the welfare regimes.

Cultural communities are shaped and produced by ongoing processes of translation understood as aesthetic media practices - such is the premise of this volume. Taking on perspectives from cultural, literary and media studies as well as postcolonial theory, the chapters shed light on composite cultural and heterotypical translation processes across various media, such as texts, films, graphic novels, theater and dance performances. Thus, the authors explore the cultural contexts of diverse media milieus in order to explain how cultural communities come into being.

Culture and creativity are important drivers of development and innovation in the world, where culture can promote the well-being of people, communities and territories.

This book explores the character of cultural governance of arts and cultural institutions in eight countries across five continents. Examining strategy and decision-making at an organisational level, this is the first empirical contribution on cultural policy and management, revealing how it is applied across the globe in otherwise unexplored countries. Concerned with the assumption that `one-size fits all', the chapter authors analyse how cultural governance is managed within arts organizations in a range of countries to assess whether some locations are trying to apply unsuitable models. The chapters aim to discover and assess new practices to benefit the understanding of cultural governance and the arts sector which have as yet been excluded from the literature. As a collection of local accounts, this book offers a broad and rich perspective on managing cultural governance around the world.

A Research Agenda for Cultural Economics explores the degree of progress and future directions for the field. An international range of contributors examine thoroughly matters of data quality, statistical methodology and the challenge of new developments in technology. This book is ideal for both emerging researchers in cultural economics and experienced practitioners. It is also relevant to workers in other fields such as cultural policy, public policy, media studies and digital economics.

A Restless Art is about community and participatory art. It’s about what those practices are, how people think about them, why they’re done and what happens as a result. It’s called ‘a restless art’ because this work is unstable, changing and contested. It involves a range of ideas and practices. It crackles with artistic, political, ethical and philosophical tensions that give participatory art life, energy and creativity. They are what make it matter in people’s lives.

 

 

In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the twentieth century saw a growing presence of various popular genres in diplomatic contexts, including rock, punk, reggae, and hip-hop. This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the twentieth and twenty-first centuries.

 

An outcome of the Creative Lenses Project

 

This book is an outcome of four-year Creative Lenses project and offers insights into the conversations, debates and views that emerged from the project. Started as a quest for ‘business models’ to ‘rescue’ struggling arts and cultural organisations, the project later turned into a wider examination of the sector and its role in the society. It does not only try to understand how such initiatives can survive but rather where they fit in the new dynamic. The emerged concept is reflected in the title of the book - ‘Models to Manifestos’.

The 15th ELIA Biennial Conference, Resilience and the City: Art, Education, Urbanism, was hosted by the Willem de Kooning Academy and Codarts University of the Arts from 21 to 24 November 2018. Taking place in Rotterdam, a city experiencing rapid developments and challenges on a social, political, economic, and environmental level, the conference explored four wide-ranging and intersecting themes: Shifting Centres, Shifting Margins; Art and Social Cohesion; Art and Economy; and Art and Innovation. Each theme provided a framework to examine how the arts can potentially play a vital role in building resilience, especially in urban contexts.

 

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