A way to ascertain trustworthiness and gain new financial backers
A 10-year old non-governmental organisation (NGO) backing young emerging artists from 54 cities in Canada and producer of leading musical events in Montreal on jazz, rock-signing and expressive arts was the first non-profit organisation in North America to get a fiduciary rating.
Faites de la Musique!FDM ("Make Music!") is based in Montreal and was created by Annie Vidal, the founder of the Chic Resto Pop, a chain of restaurant serving homeless and poor people. FDMs key mission is to provide a wider access to culture by helping young emerging talents to take off in the music industry. "Music is what makes a whole generation tick, says Ms Vidal who launched FDM in 1993 during Montreals 300th anniversary celebration. Over 1250 artists so far have participated in one of FDMs leading events: Francouvertes ("French discoveries"), an annual competition attracting 200 young singing talents over a period of four months November through February, Évidemment Jazz ("Jazz, naturally"), an off-beat 2-week event drawing 50 local artists just before Spring, and Espaces émergents, a multicultural event gathering 200
The Royal Festival Hall has installed ARTIFAX Ticketing for their box office and internet booking. The new internet ticketing system can be seen at www.rfh.org.uk where you can buy tickets online, selecting the exact seats you want, with no booking fee payable....
Thanks to a £12,150 funding award from Arts & Business, the University of Leicester Richard Attenborough Centre (RAC) is extending a recently developed partnership and setting up a programme of visual arts for HSBC staff at the nearby UK Commercial Service and Sales Centre in De Montfort Street...
The book "Creative Industries - Contracts between Art and Commerce" explores the organization of creative industries, including the visual and performing arts, movies, theater, sound recordings, and book publishing.
In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred....
In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred....
The first Creative Industries Mapping Document, published in November 1998, was the first ever attempt to measure the economic contribution of these industries to the UK, and to identify the opportunities and threats they faced. The Mapping Document also helped set a blueprint for action for both Government and the industries.
Large economic and cultural gains will be made possible by digital content production and applications development according to a report released in May 2002 by the Acting Minister for Communications, Information Technology and the Arts, Senator Rod Kemp. The Stage One report on the Creative Industries Cluster Study provides preliminary analysis and mapping of the industries producing digital content and applications.
The report identifies the key enterprises, their location and the productivity drivers and barriers. It also finds that cluster approaches potentially offer a means of addressing barriers and market failures in digital content and applications industries. The clusters have the potential to improve the efficiency and international competitiveness of these industries.
The report identifies the key enterprises, their location and the productivity drivers and barriers. It also finds that cluster approaches potentially offer a means of addressing barriers and market failures in digital content and applications industries. The clusters have the potential to improve the efficiency and international competitiveness of these industries.
Cities of St Petersburg, Helsinki and Manchester initiated under the aegis of The Prince of Wales International Business Leaders Forum, the Partnership has been awarded a grant by the European Commission's Tacis Cross-Border Cooperation Programme.
The fastest-growing economic sector in Europe is made up of SMEs whose business activity is based on individual creativity in the arts, on knowledge skills and talent. The Creative Industries Small and Medium Enterprise (CISME) sector has been identified in EU countries as distinct, serving a key function in post-industrial economies and needing sector-specific training and support. The three-city partnership will bring the two EU cities' specialist expertise together with the excellent potential in this sector in St Petersburg.
The fastest-growing economic sector in Europe is made up of SMEs whose business activity is based on individual creativity in the arts, on knowledge skills and talent. The Creative Industries Small and Medium Enterprise (CISME) sector has been identified in EU countries as distinct, serving a key function in post-industrial economies and needing sector-specific training and support. The three-city partnership will bring the two EU cities' specialist expertise together with the excellent potential in this sector in St Petersburg.
The tourism and hospitality industry is the largest in the world in terms of income and employees. Competition is fierce among countries and cultural institutions. The "Mediterranean Conference on Cultural Tourism, Cultural site, Hospitality and Museum Marketing and Strategy Planning" will apply marketing principles and tools to raise the visibility of tourism, using, as case study, Catania and Sicily to demonstrate the value proposition that tourists to Sicily (or any other Mediterranean region) will enjoy that will not be available in other tourist locations. A second part of the conference will focus on cultural institutions such as museums, which often are attractions and destinations that lead tourists to select one place over others. Marketing and strategic planning at museums will indicate ways museums can attract the types of audiences they desire and provide exceptional experiences to their visitors. Building audiences, creating a community of stakeholders, and increasing revenue at cultural institutions will be highlighted in the discussion.
Chairman of the conference is Dr. Neil Kotler, co-Author of the book "Museum Strategy and Marketing".
Chairman of the conference is Dr. Neil Kotler, co-Author of the book "Museum Strategy and Marketing".
Corporate sponsorship - not to be confused with corporate philanthropy which refers to a financial engagement by companies based on altruistic motives - allows companies to connect their engagement with their communication goals.
This paper is the final report of the first phase of the Creative Management project, which deals with one of the most challenging resource dilemmas facing Canadas not-for-profit arts and heritage sector how we can keep our current experienced managers and administrators in the sector and provide for their professional renewal, and how we can attract, develop and retain a new generation of committed managers to continue the work of our present leaders.
Over the next five to ten years, the huge baby boom generation, whose members occupy many mid- to senior-level jobs in all sectors of the economy, will begin retiring, while the number of workers under age 30 starts to plummet. The next generations of professionals will be the best-educated cohorts in Canadian history, technologically savvy, culturally diverse, and highly marketable - but few in number and burdened by record-high student debt loads.
With their pick of jobs, will they choose to work in Canadas not-for-profit arts and heritage organizations?
Over the next five to ten years, the huge baby boom generation, whose members occupy many mid- to senior-level jobs in all sectors of the economy, will begin retiring, while the number of workers under age 30 starts to plummet. The next generations of professionals will be the best-educated cohorts in Canadian history, technologically savvy, culturally diverse, and highly marketable - but few in number and burdened by record-high student debt loads.
With their pick of jobs, will they choose to work in Canadas not-for-profit arts and heritage organizations?
The topic I want to tackle within this paper is the question how arts managers can make use of the results of cultural economics.
For people who are no experts in these issues it usually seems obvious that the main purpose of cultural economics is to make management easier, to help the arts in dealing with economic problems. But, of course, this is not true. On one hand, Cultural Economics sees itself as an economic science, it uses logical models to explore complex economic interrelationships. Its main goal is to understand how the economy of arts and culture works. Arts management, on the other hand, is a part of business management and deals with the very down to earth question how to manage an artistic enterprise.
But, seen from an economic angle, the arts are not such a large field. And the different scientific disciplines dealing with the arts - apart from the History of the arts - are rather young, not yet established and only represented by a small number of scientists. So, little wonder that the boundaries between, lets say economics of the arts, arts management, arts sociology and cultural policy research are not that clear. On the whole, this is certainly an advantage, as it makes interdisciplinary work much easier.
For people who are no experts in these issues it usually seems obvious that the main purpose of cultural economics is to make management easier, to help the arts in dealing with economic problems. But, of course, this is not true. On one hand, Cultural Economics sees itself as an economic science, it uses logical models to explore complex economic interrelationships. Its main goal is to understand how the economy of arts and culture works. Arts management, on the other hand, is a part of business management and deals with the very down to earth question how to manage an artistic enterprise.
But, seen from an economic angle, the arts are not such a large field. And the different scientific disciplines dealing with the arts - apart from the History of the arts - are rather young, not yet established and only represented by a small number of scientists. So, little wonder that the boundaries between, lets say economics of the arts, arts management, arts sociology and cultural policy research are not that clear. On the whole, this is certainly an advantage, as it makes interdisciplinary work much easier.
There is an urgent need to strengthen the knowledge base on culture and human development. This is required in order to repair the distorted, culture-neglecting view of reality which has so far characterised most development efforts. The aim of this report is therefore to develop and consolidate a new conceptual framework for the elaboration of tools for the assessment, planning and reporting of cultural policies for human development.
There has been a wealth of work at international, national and local levels to define the complex and diverse relationships between the two terms culture and human development. The totality of this work does not yet constitute a coherent paradigm for work on appropriate indicators. Various lists of criteria and values have been put forward on the one hand, and various conceptual directions have been flagged on the other. These hands are not quite, however, in a position to shake. Conceptual and policy handshakes will therefore be necessary in the form of the development of complementary methodologies for cultural assessment.
This report proposes two key operational tools as frameworks for assessment and implementation: cultural mapping and cultural planning. They are sufficiently open to accommodate the facts of cultural diversity and the strategic imperatives of applied work in the contemporary cultural field.
This document is a summary of the report Towards Cultural
Citizenship Tools for Cultural Policy and Development, a Swedish contribution to the follow up of the Stockholm Plan of Action.
There has been a wealth of work at international, national and local levels to define the complex and diverse relationships between the two terms culture and human development. The totality of this work does not yet constitute a coherent paradigm for work on appropriate indicators. Various lists of criteria and values have been put forward on the one hand, and various conceptual directions have been flagged on the other. These hands are not quite, however, in a position to shake. Conceptual and policy handshakes will therefore be necessary in the form of the development of complementary methodologies for cultural assessment.
This report proposes two key operational tools as frameworks for assessment and implementation: cultural mapping and cultural planning. They are sufficiently open to accommodate the facts of cultural diversity and the strategic imperatives of applied work in the contemporary cultural field.
This document is a summary of the report Towards Cultural
Citizenship Tools for Cultural Policy and Development, a Swedish contribution to the follow up of the Stockholm Plan of Action.
There is no single definition or job description for the tasks performed by the person who accepts the title of Stage Manager for any theatrical production. Every theatre or production company has different ideas and expectations regarding the Stage Manager's role in the production process. Each Producer or Director may ask different things of the Stage Manager for each individual production. Therefore, the individual who accepts this position must be as flexible as the job description itself.
The rather playful title of this workshop suggests the reluctance - bordering on resistance - of some educators to take advantage of the World Wide Web as a pedagogical support tool for their coursework. Once people stop viewing the Web and the opportunities it offers as an end in itself but rather see it as a means to an end, namely the use of the Web to enhance, expand and enlarge the learning process, this reluctance usually diminishes significantly.
Of course, a large of number of people have taken the leap to embrace information technology as a curricular or co-curricular tool with varying levels of success. In my opinion, the level of success most people have experienced is directly proportional to the level and rigor of planning and research that preceded creation and implementation of Web-based tools. Simply put: the more a person understands a tool and its capacities, and thinks strategically and thoroughly about how that tool can be of service, the more successful that person will be with that tool.
Of course, a large of number of people have taken the leap to embrace information technology as a curricular or co-curricular tool with varying levels of success. In my opinion, the level of success most people have experienced is directly proportional to the level and rigor of planning and research that preceded creation and implementation of Web-based tools. Simply put: the more a person understands a tool and its capacities, and thinks strategically and thoroughly about how that tool can be of service, the more successful that person will be with that tool.
The paper takes a closer look at cultural festivals such as musical or operatic festivals. From an economic viewpoint the paper shows that such festivals offer great artistic and economic opportunities, but that at the same time these opportunities are also easy to destroy.
A conceptual framework is now being developed that provides a new understanding and foundation for increasing participation in arts and cultural activities. This framework is based on recent research, writings on past practice, pilot projects, and the application of theory from related fields. This work is supported by several foundations, including the Walter and Elise Haas Fund, the Heinz Endowments, the William and Flora Hewlett Foundation, the James Irvine Foundation, the John S. and James L. Knight Foundation, the David and Lucile Packard Foundation, and the Wallace-Reader's Digest fund. The result is a set of new fundamentals and practices that can increase the number of participants and audiences, deepen the participation of current participants, and reach the next generation of adult participants.
Change of Events: Despite the cautionary business climate, new research reveals a more important and valuable role for events in the marketing mix.
The training of arts/cultural administrators in Taiwan is related to the development of Taiwans 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).
Arts Management Network is offering exclusively a report about the arts management education.
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).
Arts Management Network is offering exclusively a report about the arts management education.
One of the most dynamic sectors of the labour market is the culture industries. Studies have shown that this sector has been expanding at a rate near to or beyond the overall growth of some national or regional economies and it is expected that employment rates will double in the next ten years. The fields which make up this sector, including everything from visual or performing arts to multimedia production, have been heralded as ones which can secure sustainable employment, reinforce endogenous regional potentials and shape the future through high levels of creativity and innovation via a market in which the majority of goods and services are non-substitutable.
One of the reasons for its exponential growth over the last 20 years has been explained by the increase of women working in various professional fields. Recent transnational empirical studies have indicated, however, that their representation in various occupations and at different stages of cultural production can range from below 10% (e.g. in some of the music professions) to over 60% in fields, which are today deemed "feminised".
The European Research Institute for Comparative Cultural Policy and the Arts (ERICarts) has initiated a transnational research project in co-operation with Finn-EKVIT (Helsinki), Mediacult (Vienna) and the Observatorio das Actividades Culturais (Portugal) to investigate the gate-keeping systems in the cultural labour markets and the impact that gatekeepers have on the career development of women working in the arts and media professions after they leave school .
One of the reasons for its exponential growth over the last 20 years has been explained by the increase of women working in various professional fields. Recent transnational empirical studies have indicated, however, that their representation in various occupations and at different stages of cultural production can range from below 10% (e.g. in some of the music professions) to over 60% in fields, which are today deemed "feminised".
The European Research Institute for Comparative Cultural Policy and the Arts (ERICarts) has initiated a transnational research project in co-operation with Finn-EKVIT (Helsinki), Mediacult (Vienna) and the Observatorio das Actividades Culturais (Portugal) to investigate the gate-keeping systems in the cultural labour markets and the impact that gatekeepers have on the career development of women working in the arts and media professions after they leave school .
A new report, released on January 13, 2003, examines national and provincial trends in performing arts attendance in Canada. The report - the first in a series of publications on the arts by Hill Strategies - shows that over 9.1 million Canadians 15 years of age or older, or 37.6% of Canadians in this age range, attended a live, professional performing arts event in the survey year. Theatre is the most popular live performing arts activity, followed by popular forms of music, classical music and dance.