Today, like in many other fields, people working in the field of art also need a knowledge of business administration. Both the artistic and daily use of photography make the sector well known by all. As photographical products are widely used, different sections of the sector need different business techniques to satisfy customer expectations. In this paper, the establishment of a Quality House, which is an important tool of Quality Function Deployment, is considered with an example from the photography sector.

This article analyses the economic dimension of a set of activities grouped under the heading, Culture and Leisure Industry, from three complementary perspectives: national (Spain), sectoral and regional.

Can we translate the good news of Chorus Americas chorus impact study into larger audiences for choral music?

by Ellen Rosewall

This anthology was created to raise the profile of community cultural development practice around the world by offering a rich mixture of experiences, ideas and stories that demonstrate the validity of this work as a stimulus to pluralism, participation and equity in cultural life, and as a response to globalizations pull toward the standardization of commercial culture.

InteractivA '01 was born as a reaction to the big biennials of electronic art, to the marginalisation experienced by new media artists with limited access to technology, and to the need for creating a space for future generations.This is a brief case study by Raul Ferrera-Balanquet, how to create new media art in a Latin American context.

In recent years, the Rockefeller Foundations Creativity & Culture program has fostered exploration of the emerging relationship between art and new digital media.

THEORIZING CULTURAL HERITAGE
2004-2007

Source:
James Early or Carla Borden
Center for Folklife and Cultural Heritage
Smithsonian Institution
Center for Folklife and Cultural Heritage
Smithsonian Institution

Rockefeller Foundation Humanities Fellows at the Smithsonian Institution Center for Folklife and Cultural Heritage will help expand and refine a theoretical framework for cultural heritage discourse that reflects the perspectives, activities, and participation of academic specialists, civil society groups, and public cultural organizations and that can inform dialogues across social, political, and disciplinary boundaries.

Cultural heritage is today a rubric of ever-expanding scope in the international arena, and increasingly so in the United States. Its meaning largely determined by experts, cultural heritage is used as a basis for multinational, national, state, and local programs. Cultural heritage is also the focus of ideas and programs generated by hundreds of non-governmental organizations, ethnic, regional, and community-based groups...

Excerpts from Community Cultural Planning Handbook: A guide for community leaders

Research Reports of the Arts Council of Finland No 26, Merja Heikkinen; (The Arts Council of Finland in co-operation with the Nordic Cultural Institute 2003) Available from the Arts Council of Finland. Email: tkt-kirjasto@minedu.fi

Is there a Nordic model for supporting artists, and if there is, how does it work? The book presents the results of a study comparing public policy toward artists in Denmark, Finland, Norway and Sweden. Direct financial support for individual artists is one of the characteristic features of the Nordic arts policy. The report examines the historical development of state support for artists, the objectives, decision-making, and policy measures adopted, the volume and distribution of support, and research findings on the situation of artists in the Nordic countries.

CULTIVATING CREATIVE PARTNERSHIPS
Chamber Music Americas 2003 Education and Residency Institute
17-19 October
Chicago College of Performing Arts at Roosevelt University, Chicago, IL

A FORUM FOR EXCHANGING OUTREACH IDEAS, EXPERIENCES, AND TECHNIQUES FOR CHAMBER MUSIC AND JAZZ ENSEMBLES, PRESENTERS, AND COMMUNITY PARTNERS

As competition increases, organizations trying to expand their market share in the branch they operate, have started showing a growing interest to the concept of quality for the products and services they produce. In Turkey, it is possible to consider firms in the photography sector as organizations and examine them according to the way they approach quality....

Author Stephen Belth opens his essay by reminding readers that the growth of the arts in the Unites States since the 1960s has been, in his words, staggering. As this decade ends, the numbers of symphony orchestra concertgoers are numbered in the tens of millions. He then posits that organizational stability for orchestras requires steady audience growth, and proceeds to explore ways in which to accomplish that growth.

The Financing and Managing of Culture in the US and in France: New Synergies and Interdependencies Between Private and Public Sources of Support;
March 6-7, 2003, Paris

This symposium was organised by the French-American Foundation and the Centre Français des Fondations and hosted at the French Ministry of Finance in Paris. It attracted over 400 participants and panellists. On the American side, foundations and the corporate world were represented, as well as scholars and researchers, and arts managers. French speakers included an overwhelming number of senior civil servants, museum directors (the French performing arts appeared slightly under-represented), experts on tax and non-profit law, and political scientists. The importance of the topic to the French political agenda was marked by the delivery of the opening and closing remarks by a representative of the Ministry of Culture and by the Minister of the Budget Alain Lambert.

Carnegie Mellon's Master of Arts Management (MAM) program has signed an agreement with three educational institutions in Italy to help restore, utilize and manage historical cultural sites in Italy's Piedmont region.

The MAM program, an interdisciplinary joint program of the H. John Heinz III School of Public Policy and Management and the College of Fine Arts, will work with the University of Bologna's Department of Economics and Management, The Polytechnic Institute of Turin's 2nd Faculty of Architecture and the Fitzcarraldo Foundation in Turin.

Authors are sometimes lax in their business affairs. Indeed, an astute observer once commented that authors and agents do lunch not contracts. However, to avoid disputes concerning rights of authorship and ownership, whenever two or more people collaborate to write or develop a creative project, it's wise to have a written collaboration agreement (or appropriate work for hire agreement) that defines each party's rights and obligations. Absent a written agreement, ownership of the authors' creative efforts will be governed by copyright law and the courts not necessarily according to the parties' intention.

The advancement of the Digital World has indeed had an incredible impact upon the music industry, with dramatical effects. Some changes that are taking place include the removal of the geographic boundaries that have traditionally existed with the current copyright system, and the redistribution of income within the industry. It can be seen that attempting to maintain excludibilty using copyrights on music is no longer feasible. Artists and authors should therefore attempt to reap the rewards of their creative intellectual property by evolving and taking advantage of what the internet can offer rather than treating it as an infliction upon the industry structure as it was. The need for intermediaries will not vanish but their importance will lessen. It seems at present that the Steven King strategy will become more popular amongst artists, but the main transformation will occur when the Big Five join forces so that all labels will be available from the same source. Battles against piracy will continue to be problematic particuarly while the cost of music is dear. It is hoped that in the future it will be possible that consumers will pay lower prices for both physical and digital products and as a result be rewarded with a broader variety of music.

Arts and culture reflect open society values and influence public attitudes, yet they seldom receive adequate recognition and resources from either governments or society. To counteract the lack of support, the Arts and Culture Program promotes cultural and artistic collaboration throughout the Soros foundations network; fosters structural changes in cultural policy; and helps develop an autonomous and innovative arts sector. The program's primary goal is to stimulate cultural activities while respecting and celebrating differences among countries.

When a city as young as Miami lacks deep-pocketed philanthropists, private foundations and a broad and generous corporate base, the community turns to government to fund the arts.

But state legislators and local officials -- who oversee the majority of public funding for the arts -- oppose raising taxes to fund the arts, particularly when a down economy creates shortages for education, health care and public safety.

New York, NY, June 9, 2003The Foundation Center and Grantmakers in the Arts (GIA) announce the release of Arts Funding.

Preoccupation with board performance has grown over the last ten years and at an accelerating pace more recently, following revelations of both incompetence and misconduct in leading corporations and a number of non-profits, from Enron to War on Want. For cultural organisations, incompetent direction and leadership has been the main culprit rather than avarice. Faltering artistic vision, critical opprobrium, declining audiences, rash over-expansion or financial deficits do not happen over-night but are usually translated into the less judgemental language of external threats or operating challenges such as funding cuts, revenue declines and marketing failures.
Organisations rarely take a step back and look critically at the most senior leadership team the board and its chief executive and the value they can add or the potential they have for crippling the organisation.
For the most part, the responsibilities of these two positions can be formally separated and clearly differentiated. The board and the chief executive should be a team with complementary skills, committed to a common purpose and approach for which they hold themselves accountable.