The Vermont Council on Rural Development's summer conference, Advancing Vermont's Creative Economy, drew over 250 participants from across the state. They were eager to share their stories, strategies and questions about growing a vibrant economy rooted in creativity, entrepreneurship and Vermont values.
Estonian Academy of Music and Theatre hosted an international cultural management summer academy Synaxis Baltica on the topic of Creative Clusters Future Model for the Cultural Field? from 1st to 14th of August.
This volume examines the nature of cultural diplomacy and draws from a conference on cultural diplomacy and includes speeches given by Cultural Ambassador Joel Meyerowitz, Karen L. Perez, Singaporean Artistic Director T. Sasitharan, and articles by Emeritus Professor John Pick, Patrick Hughes and Ruth Bereson.
Box office income remains a sacred cow and a neglected art when it comes to setting budgets in arts organisations. However, a new collection of essays commissioned by Arts Council England - Call it a tenner: the role of pricing in the arts - exposes and debunks some of the myths and legends surrounding ticket pricing and the cost of entry into arts events.
Given the reputation which economists have nowadays as desiccated calculating machines, you may have been surprised to find that any economist is interested in the arts, let alone spends part of his time chairing a body such as the Tasmanian Arts Advisory Board.
The Music Information Center Austria (mica) is co-ordinating the project. DMET Digital Music Education Training, with the support of the Culture 2000 programme of the European Union. The main goal of DMET is to create a curriculum for digital music business affairs, providing artists and labels with the knowledge they need to take advantage of the new marketing and distribution possibilities of the Internet. Currently one of the main activities in DMET is the creation of a consolidated body of knowledge on the digital music market. The following article gives an example of these topics, mainly focusing on the present situation of the music industry and the problems they are struggling with.
The 2007 TCG National Conference, Artistry in a New Century, hosted by the Twin Cities theatre community, was held in the new Guthrie Theater facilities from June 7-9, 2007 with a pre-conference day at Penumbra Theatre on June 6th. A new world, a new country, a new audience, new art - the 2007 TCG National Conference turned its attention to creating theatre for today and tomorrow with Artistry in a New Century.
For years, Theatre Communication Group (TCG) has heard from artistic and management leaders and senior staff that there is an increasingly urgent need in the field for human resources training and professional development opportunities for managers and artists who manage personnel. In response to this need, TCG partnered with Target Corporation in 1998 to create this dynamic program.
Theatre figures have endorsed the first Performing Arts Technical Training Handbook, published by Entertainment Technology Press working in conjunction with the Association of British Theatre Technicians.
We know that an event is not theatrical unless an audience is there to witness it. Indeed, the audience itself transforms what might otherwise be a moment of reality into an artistic event. We also know that a theatrical production, however small, will not happen unless there is funding to support it. Whether it is a community production in someones backyard, or a full-scale musical on a Broadway stage, funding support is always a necessity.
There are said to be approximately 2,500 public theaters and concert halls in Japan at present. Almost all of these were built in the 1980s or later. There was an unprecedented rush of construction in the 1990s in particular, when approximately 1,000 halls opened during a ten-year period. The building of such a large number of facilities in the 1980s and 1990s took place in a context not only of government support for public works projects but also as a result of the following three movements.
Released February 2006, this study finds that artists careers are strengthened and urban neighborhoods and smaller city downtowns are revitalized with the presence of dedicated space for artists to convene, share workspace and equipment, find mentors, and compete for grants and opportunities to exhibit/publish/present.
Nowdays there are courses, diplomas, masters degrees that certify you as an artist manager or agent. In my college days, over 30 years ago, there was nothing of the kind, it was not an official profession. There always were, of course, the grand impressarios: Sol Hurok, Nelly Walter, Thea Dispeker, Anne Colbert, Herbert Breslin. These were personalities who kept a watchful eye on their artists and managed their careers. They all were classical agents and always had several artists in their stable.
Over the last few decades, the culture and creative industries have become a major economic force. The creative industries, a complex of eleven economic sectors, aroused a lot of attention in 2006 due to its surprisingly high turnover and growth figures. The culture and creative industries subsequently gained a new importance on the political agenda in the Lisbon process for the strengthening of economic growth in Europe as well as in the UNESCO Convention on Cultural Diversity, which was ratified by Germany in February 2007. At the beginning of the German EU Presidency in 2007, the German Federal Government placed the issue of culture and creative industries on the agenda of the informal meeting of the European Ministers of Culture in Berlin.
The relationships between diaspora communities, festivity, cultural events and tourism are of considerable interest to academic researchers, as well as for arts, social, cultural and tourism policy makers, professional officers and cultural practitioners in many countries who have much to learn from each others experiences and approaches. In October 4-6, in York, United Kingdom, there will be an international conference about this issue.
The Observatory of Cultural Policies in Africa (OCPA), in cooperation with UNESCO and the European Network of Cultural Administration Training Centres (ENCATC), is developing a regional directory of African training centres and institutions in the field of cultural policy, administration and management as well as cultural development.
The Gemäldegalerie Alte Meister of the Staatliche Kunstsammlungen Dresden has opened a counterpart in the desert. But only in the virtual world, of course. The three-dimensional clone of the museum can be visited in Second Life®. The magnificent rooms of the museum are reproduced true to scale, and all 750 masterpieces in the exhibition are on display. The doors are open 24 hours a day, 7 days a week. Visitors can view the art, chat with each other, access information about the works of art, participate in art education events, note their impressions in the guestbook or browse in the shop all in real time.
Our special topic for this August newsletter is artist management. How to serve an
artist as a manager or personal assistant? Which challenges artists have to face especially in the music sector? Is it still a dream to become an artist manager at all?
Dirk Heinze, editor-in-chief of Arts Management Network, led an interview with Brian Schottlaender, who is University Librarian at the University of California, San Diego (UCSD). This library is famous not only for an impressive architecture of the main building, but also for its digital library, the general strategic management or for its extensive staff training. In the interview, Brian Schottlaender makes obvious, how a strategic plan can be implemented in an organization and how it can be proceeded by the entire management staff.