This is the second of two articles on the generational transitioning of leadership in the arts. The first article, Boomers, XY's and the Making of a Generational Shift in Arts Management, sets the stage by outlining the similarities and differences in style, education and perspective that define arts and culture leaders from the Baby Boom and Generations X and Y (XY's). It further explores how this generational overlap can affect the ways in which they work together in the field of arts management.

As the introduction mentioned, which just published by Arts Council Ireland, the study provides up-to-date information what Irish people think about the role of the arts in society and about arts funding. Through the profiles of comparison and analysis between 1994 to 2006, it describes the giant changes of the whole arts industries during 12 years due to cultural policy, arts funding and complete society.

There is a substantial and growing interest in developing entrepreneurship and the related area of equipping students for selfemployment or 'portfolio careers' in the arts and entertainment sector. The PACE project is building on the work of performing arts departments in this field by funding further initiatives, and developing resources and networks to support graduate entrepreneurship. This guide presents a review of recent literature on cultural entrepreneurship and discusses the issues surrounding the transition from arts higher education to professional artistic practice. It also highlights innovative approaches in drama, dance and music departments, and outlines the work of the PACE project in supporting and promoting new initiatives in this area.

The John F. Kennedy Center for the Performing Arts Fellowship Program offers 10 highly motivated arts managers - a structured blend of independent and collective learning experiences and the opportunity to work in o­ne of the busiest and most artistically diverse performing arts centers in the United States.

Drawing on an analysis of critics reviews of Atlanta Symphony Orchestra (ASO) performances, we investigate how broader shifts in institutional logics shape the discourse of critics and their judgment of performances. We highlight how the aesthetic logic that traditionally informs the practices of the symphony yielded, in the face of declining orchestral resources, to a more commercially oriented market logic. As institutionalists have argued, shifts in logics are often catalysed by exogenous shocks.

Marketing, as it relates to the arts, is not about intimidation or coercion or abandoning an artistic vision. It is not hard-selling or deceptive advertising. It is a sound, effective technology for creating exchanges and influencing behaviour that, when properly applied, must be beneficial to both parties involved in the exchange (Kotler and Scheff, 1997). The focus of this paper is on how owners / managers of small and medium sized Independent businesses in the music industry (cultural entrepreneurs) create exchange and influence behaviour when accessing finance for their businesses. The paper is based on Leadbeater and Oakleys (1999) description of a new model of work and creative production, derived from cultural entrepreneurs characteristic independence.

We define cultural entrepreneurship as the process of storytelling that mediates between extant stocks of entrepreneurial resources and subsequent capital acquisition and wealth creation. We propose a framework that focuses on how entrepreneurial stories facilitate the crafting of a new venture identity that serves as a touchstone upon which legitimacy may be conferred by investors, competitors, and consumers, opening up access to new capital and market opportunities. Stories help create competitive advantage for entrepreneurs through focal content shaped by two key forms of entrepreneurial capital: firm-specific resource capital and industry-level institutional capital.

Dr. Terry Flew sectored threefold at this paper, which he presented at the Cultural Studies of Australasia Conference, includes:

(1) emergent knowledge production frameworks, and how cultural studies is positioned in relation to them;
(2) the relationship of cultural studies academics to developments in creative industries fields, most notably the rise of cultural enterprise; and
(3) the question of how conceptual frameworks are related to empirical developments in creative labour markets.

International Forum on Cultural Rights and Diversity took place in November 2006 in Seoul, Korea. The 2-day event included the speeches: "Cultural Rights and Diversity : Issues and Challenges", "Systems of Cultural Support and Cultural Diversity : Contradictions and Recommendations", "Cultural Diversity and Cultural Expressions : Why it is Necessary to Protect Diversity" and so on.

Right now, readers can download the papers via Korean National Commission for UNESCO.

This paper explored the questions as purpose: How does non-profit organization measure satisfactory board performance? and In what way are board members held accountable?, mentioned by the author David Fishel.

How are we going to measure performance?

This publication, which is released by World Intellectual Property Organization (WIPO), is a legal guide of Copyright and Related Rights for small and medium sized enterprises, which involves printing; publish; visual and performing arts; design and fashion, and even digital industries, for instance, software and multimeida.

It focuses not only on the ownership of copyright and how to protect people's original creations, but also on the benefits from copyright and related rights.

The current boom in Asia is not only economic but also cultural. The Asian region as a whole and individual states, in particular China and Vietnam, have developed into a region of increased priority in the field of cultural co-operation. Cultural co-operation, however, has always been tied to other strategic goals. The growing interest in the Asian region is above all also political, historical, diplomatic and last but not least economic.

This issue is all about arts management in "Chinese speaking Regions".

This paper, which is released by Canadian Cultural Observatory, points out 5 myths about the cultural policy in USA, that includes:

1: The absence of a cultural ministry indicates that the United States does not value culture and does not take it seriously.
2: The National Endowment for the Arts (NEA) is the de facto Ministry of Culture.
3: The United States does not have national cultural policies
4: Private and foundation investments in arts and culture are the prime source of income for the arts and cultural sector and provide more than a sufficient source of support.
5: Exported cultural products represent American cultural values and international cultural policy priorities.

In Beijing it is the Beijing Music Festival, in Shanghai the Arts Festival both these events take place in October-November of every year and boast the participation of some notable foreign music groups.

The subject of this article, however, will be the Shanghai Performing Arts Fair, which preceeds the Festival, and is similar in set-up to the fairs held in Tokyo, Seoul and elsewhere, where artists, agents and producers have the opportunity to showcase their newest and best acts to potential, in this case, mostly Chinese, presentors.

Like many major government decisions in Singapore, the city-states national cultural policy is informed by economic rationale. To be sure, Singapore did not have a cohesive or coherent national cultural policy before the late 1980s. Prior to this, during the early years of independence, the arts and cultural industry ranked low on the list of national concerns that included high unemployment, severe housing shortage and economic survival.

Intercultural organisations in the arts first occurred in the Netherlands in the mid-1980s. They were able to establish an intercultural practice and formulate the first features of what interculturality could mean. They took profit from the discourse on integration that was at stake in the Netherlands: integration by preservation of ones own cultural background. This discourse changed during the nineties and provoked a growing debate on how the Netherlands is coping with its minorities. Two discourses became apparent.

Publicity, advertising and marketing in cultural institutions are fields that have rarely been studied in French-speaking Switzerland. The general objective of the research aims at finding out how the clients of cultural institutions concerned with visual arts evaluate the quality of their communication and modify their behaviour accordingly.