TRANSFER - eine Publikation mit 60 Theaterstücken in 29 Sprachen. Das deutsche Kinder- und Jugendtheater ist im Ausland gefragt!
Princeton University has received a $1.9 million grant from The Pew Charitable Trusts to create a national data archive for policy and the arts, the country’s first electronic archive of research data on the arts and culture. This rich new source of information, a repository of a vast range of research data that was previously difficult to access, will be available to policymakers, researchers, journalists and the public through the Internet.
Libraries have been part of the building boom that has characterized the cultural world internationally, and particularly the United States, over the last decade. Major new city center public libraries have been completed in Chicago, San Francisco, Denver, Phoenix, San Antonio, Vancouver, Nîmes, Montpellier and Norwich, and more are presently under construction in Marseilles, Salt Lake City and Seattle. Major projects are planned for Milan, Turin, Amsterdam, Minneapolis and Birmingham, to name but a few. London and Paris have two massive new national libraries. And in Egypt, the new Library of Alexandria conjures up the fame of antiquity as the foundation for 21st century economic and cultural revival. Libraries are oddly fashionable, and the rest of the cultural sector is taking an increasing interest in their success and in the key drivers that have secured it...
CALL FOR PAPERS
1st Annual Ringling Cultural Policy Symposium
The Prospects of Privatization/The Cultural Market and Cultural Darwinism
Ringling Museum and Policy Center
February 13 - February 16, 2003
Conference themes: performing arts & festivals, state & local arts agencies, museums and visual arts, k-12 schooling, university art programs, foundations.
Papers on all arts & cultural policy approaches are welcome including audience development, privatization, aesthetics, management, institutional goals, school curriculum, arts porogramming. Contributions from social scientists are also welcome if they focus on policies focused on marketing and the arts, audience development, consumption of cultural products/aesthetics, funding, equity and access, or education.
PROPOSALS, SUBMISSIONS, DEADLINES: Those wishing to present a paper at the conference must submit an abstract of 150-250 words, along with completed proposal form. Deadline for submission for abstracts is OCTOBER 31, 2002. Abstracts must include: policy objective or questions; methodology and theoretical perspectives; mainfindings or conclusions. For complete information and proposal form, contact Charles Dorn, Arts Administration Program, Florida State University, Tallahassee, Florida 32306-4480. 850-644-2158, fax 850-644-5067, firstname.lastname@example.org
Dirk Schuetz and Dirk Heinze were special guests of two meetings of professionals in the Canadian Arts and Heritage Sector. At September 12th both founders of this network joined the meeting of O-ACE-IS, an initiative of the Association of Cultural Executives (ACE) aimed at bringing arts professionals together to exchange experiences and connect with colleagues. At the session, co-sponsored by ACE and the Co-op Arts Management Program at the University of Toronto at Scarborough, John Brotman, Executive Director of the Ontario Arts Council, commented on his experiences this past year at the Council. About one hour before, the two German guests met the team of William Poole (University of Waterloo, ON) and talked about the future of learning and knowledge transfer for arts managers, especially inspired by a private demonstration of Dave Barr from Waterloo's famous Center of Cultural Management.
At September 13, Dirk Schuetz and Dirk Heinze went to the Canadian capital Ottawa, where they came together with about 15 cultural management representatives in Canada in the conference room of the Canada Council for the Arts. Beside a deeper interest in the current situation of arts financing in Germany behind the discussion of cutting the subsidies from federal or regional bodies, both sides were convinced in the fact, that the aspect of human resource development should come more in focus not only in Canada and Germany. First steps has been made with the case study "Creative Management in the Arts and Heritage: Sustaining and Renewing Professional Management for the 21st Century", just released with a first level by the Creative Management project partners.
The training of arts/cultural administrators in Taiwan is related to the development of Taiwan’s arts/cultural administration and the centralized system of the government. In this top-down system, the government has long played a leading role in the development of arts/cultural policies and enterprises. The Constitution of the Republic of China (Taiwan), established in 1946, Chapter 13, Section Five: Education and Culture, Article 164, 165 and 166 describes the basic principles for promoting arts/cultural enterprises. Article 164 says that:
Funds earmarked for education, science, and culture shall be, in respect of the Central government, not less than 15% of the total national budget; in respect of the Provincial government, not less than 25% of the total Municipal or County budget. Educational and cultural foundations established in accordance with law, and their property shall be protected (the Council of Cultural Affairs, 1995, p. 22-23).
This newest course - offering of the Program in Arts Administration at Columbia University Teacher's College in New York City - will examine critical issues in the continuing use of technology in the arts for arts managers. It will combine relevant intellectual exploration of educational and artistic issues with a focus on practical concerns such as content, protection, function and delivery of technological methods and innovations in the arts with particular emphasis on their effect and demands on arts managers. The purpose of the course is to expand creative thinking for actual and aspiring practitioners in the arts. It will examine some of the conceptual thinking in the area, practical tools, form vs. function, communication and educational challenges, dilemmas and potential. Technology will include the Internet, audio delivery, interactive technology, email, and television.
In 2001 RAND released a report on performing arts in the U.S., Performing Arts in a New Era. The report predicted that it was going to be a difficult time for performing arts organizations for the foreseeable future. Almost a year later, Frances Phillips, in Grantmakers in the Arts Reader, examines the prediction by comparing it to recently published field reports from different performing arts disciplines: Dancing with Dollars in the Millennium, a ten-year study of trends in dance published by Dance/USA
in Dance Magazine in April 2001; TheaterFacts
, the annual fiscal survey published by Theater Communications Group (TCG) and Reaffirming the Tradition of the New, a report on five regional round table sessions on the future of the National Performance Network (NPN)
. Phillips identified eight elements in Performing Arts in a New Era and examined them in light of the findings in the other three reports. Following are the eight Performing Arts statements (in bold) and her findings in the other reports.
The Danish Ministry of Culture has allocated NyX DDK 3 million to create and maintain a network between art, art institutions and business - NyX will get the arts and business to play together.
By Monika Mokre
The topic of this paper is the question how arts managers can apply the results of cultural economics to their work. The usefulness of cultural economics shall be tried on two main questions of arts management:
-How to raise money for projects, and
-how to spend it economically and reasonably.
The second question is discussed using the Rational-Choice-Theory and Baumol’s Cost-Disease-Model. To answer the first question income and price elasticities of the arts are explained.
The author comes to the result that very few results of cultural economics can directly be applied to arts management. Nevertheless, many considerations of cultural economics are worthwhile to look at for people working in arts management, as they clearly describe the conditions under which arts institutions are working.