In a globalised economy, creativity and intellectual property have emerged as the new building blocks of wealth generation and social inclusion. The countries of the global south, particularly the Caribbean, are in a unique position to generate wealth beyond their scale of economy and size based on the global appealing culture it has contributed to the world...

In this paper, it examines the culture statistic of 5 OECD (Organisation for Economic Co-operation and Development) countries, includes Australia, Canada, France, the United Kingdom and the United States. The authors not only present a complete view of culture, ecnomic and social aspects, but also mention the problems of UNSECO frame from an International-oriented point.

This E-Publication was the achievment of the course on "Redefining Cultural Identities", which was organized by the Institute for International Relarions from Zagreb and the Inter-Univeristy Centre in Dubrovnik. Readers can have an overview on the creative industries sectors in Southeastern Europe:
* Creative Industries in Southeastern Europe
* Cultural Exchange and Cooperation in Southeastern Europe
* Cultural Cooperation Contexts

The Ministry of Culture and Religious Affairs of Romania and the Fund for Arts and Culture in Central and Eastern Europe present the Second Annual Regional Museum Conference Our Museum, Our Community: Our Partnership on 17 - 20 September 2006 in Bucharest, Romania.

In June 2004, a young man, whose computer had 6,000 Music MP3 files, agreed to pay International Federation of Phonographic Industries 8,000 Euro. "The music business is the first major sector of culture production to confront the challenges and opportunities offered by the Internet." said the Author, David Hesmondhalgh. As he outlines, "the issue of copyright is central to developments in the music industries and in the cultural industries."

Today festivals are considered to contribute significantly to the cultural and economic development wealth of the United Kingdom. The festivals have major impact on the development of cultural tourism to the host communities. The festival organisers are now using the historical and cultural themes to develop the annual events to attract visitors and creating cultural image in the host cities by holding festivals in the community settings. The desire for festivals and events is not specifically designed to address the needs for any one particular group. The hosting of events are often developed because of the tourism and economic opportunities addition to social and cultural benefits. Many researchers have contested that local communities plays vital role in development of tourism through festivals.

Events have the potential to generate a vast amount of tourism when they cater to out of-region visitors, grants, or sponsorships, (Getz, 1997) of direct or indirect intent. The government now support and promote events as part of their strategies for economic development, nation building and cultural tourism. The events in turn are seen as important tool for attracting visitors and building image within different communities. According to Stiernstrand (1996), the economic impact of tourism arises principally from the consumption of tourism products in a geographical area. According to McDonnell, Allen and O Toole (1999), tourism related services, which include travel, accommodation, restaurants, shopping are the major beneficiaries of the event.

When people mention about the term Cultural Industries, they always put their eyes on the achievement of UK, USA, Australia and New Zealand. In Asia, there have some other potential sectors. For example, video game industries in Japan, Korea, China and Taiwan. And here is the other case, which presents the cultural industries of Singapore.

In this report presents four parts, includes the creative cluster of scope and economic impact, the cultural economic contributions of Singapore and policy implications.

The 2005 Creative Industries report, which is released by American for the Arts, includes comparative data for the States, Congressional Districts, Counties and Cities in USA. According to this research, it presents that during 2005, there are 9 million people working for 548,000 arts-centric businesses in USA, and it indeed is a growing sector of a nations economy.

Cultural diversity is at the heart of creativity and innovation. As this report, produced by GLA (Greater London Authority) Economics highlighted the potential and influence of Asian by several cases, Asians are making a significant and growing contribution to the creative industries in London. Although the report is released in 2003, the stable growth and development is continued.

As the Author Frederick van der Ploeg mentioned in this thesis that Europe has different systems of cultural policy, each with its own merits and distortions. He gave readers some examples to prove and to distinguish the state-driven system, independent statues or almost no federal cultural policy. And in Chapter 8, his point of view focus on the development and importance of the international cultural policy in countries, and it is needed.

A brand is not just "signs and symbols". The best way to think of a brand is "a collection of perceptions" because your "brand value" lies in your management of how people think and feel about you.

The course in Economics and Techniques for the Conservation of the Architectural and Environmental Heritage - SCEC has been established by the University of Nova Gorica in collaboration with Università IUAV di Venezia, Università degli Studi di Udine and Università di Napoli Federico II.

Cultural heritages, historical buildings, publication, and arts crafts are easily damaged or destroyed by typhoons, earthquakes, fire, floods, and even wars. Due to that, effective emergency management and methods are more precedential for institutes.

This is a practical guide, which was written by Dr. Sharron Dickman, demonstrates how performing arts organisations can carry out cost-effective audience research.

Any organisation can do audience research, and this free practical guide demonstrates how. From informal observation to focus groups and questionnaires, it explores ways to manage this essential activity. Learn how to plan an audience research campaign from inception through to implementation.

This paper is a case study, which aims to examine the recruitment, management and strategy of Provincial theatres in UK. It also involves the practical and effective strategies for recruiting and retaining the volunteer of arts organizations.

Cultural tourism is becoming a larger industry in the US. According to the Travel Industry Association of America, 81% of 146.4 million U.S. travellers surveyed included cultural, arts or heritage activities at least once on their trips in 2004, creating a higher economic impact on the visited region than other tourists. A cultural tourist spends more money in average during their trip ($623 vs. $457) and travels longer (5.2 nights vs. 3.4 nights)...

This issue is all about trends in arts management.

This article "Europe Needs to Strike Right Balance between Tourism Development and Heritage Conservation" is written by Mrs Sneska Quaedvlieg-Mihailovic, the Secretary-General of Europa Nostra (http://www.europanostra.org), and presented in Europa Nostra News. Arts Management Network appreciates that he allows us to put this whole text on the homepage.

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The Europa Nostra Congress, held in Malta from 16th to 20th May 2006, having considered the issue of "Cultural Tourism : Its Encouragement and Control", subsequently endorsed the following Malta Declaration pledging Europa Nostra to encourage the practical realisation of its principles on a European-wide basis through the European Union Institutions and the Council of Europe mechanisms.

DEFINING:
Cultural Tourism as that form of domestic and international tourism whose object is, among other aims, the discovery and enjoyment of historic monuments and sites focusing on the built (immovable and movable) cultural heritage, including the cultural landscapes, of heritage travel destination areas, to experience places and activities that authentically represent the cultural history of the host communities.

We have to face the fact that many people don't think the arts offer them anything they value. It could be argued that people don't understand the value they could have from an artistic experience but the fact remains that unless people value something, the price is irrelevant.

Should price always get the blame? Or the problem is our price too high?