Libraries, archives and museums have traditionally been a part of the public sphere's infrastructure. They have been so by providing public access to culture and knowledge, by being agents for enlightenment and by being public meeting places in their communities. Digitization and globalization poses new challenges in relation to upholding a sustainable public sphere. Can libraries, archives and museums contribute in meeting these challenges?

A vibrant arts sector impacts local business, citizens, youth, artists, governments — in short, everyone! Integrating unique, authentic, creative assets that flow from the arts across multiple sectors supports community prosperity. Through mutually-beneficial partnerships, local stakeholders build a web of community resilience, one that is deep-rooted.

Leverage the Arts Ecosystem to Influence Local Prosperity is a handbook that lifts the veil on subtle but highly influential impacts the arts bring to all communities. Insights support arts advocacy and highlight how the arts bind multiple, intersecting sectors and economies, such as:

• What attracts artists to your community in the first place?
• How to construct effective partnerships that holistically support artistic, community and business evolution.
• Identifying arts ecosystem stakeholders and how they intersect.
• Strategies that guide partnership and publicity efforts, leveraging universal success.
• Why shared values, advocacy, and communication are fundamental to the process.

Contemporary music, like other arts, is dealing with the rise of »curators« laying claim to everything from festivals to playlists - but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.

This book challenges simplified claims of racial, national, and ethnic belonging in music education by presenting diaspora as a new paradigm for teaching music, departing from the standard multicultural guides and offering the idea of unfinished identities for musical creations. While multiculturalism—the term most commonly used in music education—had promised a theoretical framework that puts classical, folk, and popular music around the world on equal footing, it has perpetuated the values of Western aesthetics and their singular historical development. Breaking away from this standard, the book illuminates a diasporic web of music’s historical pathways, avoiding the fragmentation of music by categories of presumed origins whether racial, ethnic, or national.

Across Europe, a contemporary music theatre landscape has taken shape beyond the institutions of mainstream opera. This field is characterized by diverse and innovative forms ranging somewhere between music and theatre, as well as the constant development of new creation processes. This book presents the first empirical survey of four different international music theatre scenes, and examines the connections between the historical and cultural-political conditions and the concrete artistic practices in each scene. Each chapter gives the artists, ensembles, and other protagonists a chance to articulate their own understanding of ›music theatre‹ and their sense of belonging to an independent music theatre community.

Museum Diplomacy in the Digital Age explores online museums as sites of contemporary cultural diplomacy.
Building on scholarship that highlights how museums can constitute and regulate citizens, construct national communities, and project messages across borders, the book explores the political powers of museums in their online spaces. Demonstrating that digital media allow museums to reach far beyond their physical locations, Grincheva investigates whether online audiences are given the tools to co-curate museums and their collections to establish new pathways for international cultural relations, exchange and, potentially, diplomacy. Evaluating the online capacities of museums to exert cultural impacts, the book illuminates how online museum narratives shape audience perceptions and redefine their cultural attitudes and identities.

This book draws on the author’s experience as a storyteller, drama practitioner and researcher, to articulate an emerging dialogic approach to storytelling in participatory arts, educational, mental health, youth theatre, and youth work contexts. It argues that oral storytelling offers a rich and much-needed channel for intergenerational dialogue with young people.
The book keeps theory firmly tethered to practice. Section 1, ‘Storyknowing’, traces the history of oral storytelling practice with adolescents across diverse contexts, and brings into clear focus the particular nature of the storytelling exchange and narrative knowledge. Section 2, ‘Telling Stories’, introduces readers to some of the key challenges and possibilities of dialogic storytelling by reflecting on stories from the author’s own arts-based practice research with adolescents, illustrating these with young people’s artistic responses to stories. Finally, section 3, ‘Story Gaps’, conceptualises dialogic storytelling by exploring three different ‘gaps’: the gap between storyteller and listener, the gaps in the story, and the gaps which storytellers can open up within institutions.  
The book includes chapters taking a special focus on storytelling in schools and in mental health settings, as well as guided reflections for readers to relate the issues raised to their own practice.

This book gathers the best papers presented at the 11th Tourism Outlook Conference, held in Eskişehir, Turkey, from 3 to 5 October 2018. Covering various aspects of heritage and its effects on tourism issues, the contributions provide a multidisciplinary perspective on emerging issues and challenges in the area. The book also analyzes both the tangible and intangible properties of natural, cultural, and historical heritage and how these relate to and influence tourism, and evaluates the importance and role of heritage in tourism destinations and products. By providing a platform for cross-disciplinary dialogues that integrate research and insights from diverse geographical, sectoral and institutional perspectives, the book allows readers to gain a better understanding of heritage tourism.

Emerging forms of alternative economic frameworks are changing the structure of society, redefining the relationship between centre and periphery, and the social dynamics in the urban fabric. In this context, the arts can play a crucial role in formulating a concept of complex and plural citizenship: This economic, social and cultural paradigm has the potential to overcome the conventional isolation of the arts and culture in ivory towers, and thereby to gradually make the urban fabric more fertile. This volume faces such sensitive issues by collating contributions from various disciplines: Economists, sociologists, urbanists, architects and creative artists offer a broad and deep assessment of urban dynamics and their visions for the years to come.

 

The fame and fortune associated with theatre and visual arts attracts would-be artists. The financial rewards makes artists success symbols worthy of management. Therefore, Performing and Visual Artist Management as a Career presents the artist as an invaluable creative human resource in Theatre Performance and Visual Arts. It holds the artist as a product of rare talent, training or both with centrality in performance arts (drama, dance, music, etc) and visual arts (painting, ceramic, carving, drawing, sculpturing, etc). Hence, it advances the creative services and products of the artist towards meeting the needs of his clientele and for his professional gains. It further accentuates the importance of managing the artist, as the art business deeply requires management tactics to enable the artist to compete both at the local and international market. It takes a swipe on the social, economic and political factors that influence the artist to resonate creative prowess. Furthermore, it deepens the practicality of artist management with the objective to strengthen the artist through daunting professional challenges.

 

In its 27th edition Museums of the World covers more than 55,000 museums in 202 countries, listed hierarchically by country and place, and within places alphabetically by name. A separate chapter records some 500 museum associations in 132 countries.
Each museum has been assigned to one or more of 22 categories identifying the type and focus of the museum.

An alphabetical index of museums, an index of persons covering directors, presidents, curators and academic staff of the museums, a personality index recording artists whose works are shown predominantly in a specific museum and/or referring to memorabilia of famous individuals, and a subject index facilitate the access to the data.

Why do people go to exhibitions, and what do they hope to gain from the experience? What would happen if people were encouraged to move freely through exhibition spaces, take photographs and be playful?

In this book, Inge Daniels explores what might happen if people and objects were freed from the regulations currently associated with going to an exhibition. Traditional understandings of exhibitions place the viewers in a one-way communication form, where the exhibition and those behind its creation inform their audiences. However, motivations behind exhibition-going are multiple and complex and frequently the intentions of curators do not match the expectations of their visitors.

Based on an in-depth ethnographic examination of the processes involved in the making and reception of one particular exhibition-experiment as well as a study that follows 'freed' objects into their new homes, this publication will not only shed light on what exhibitions are, but also what they could become in the future.
Featuring over 175 colour illustrations and using practical examples, this is an important contribution for students and scholars of anthropology, museum studies, photography, design and architecture.

In remote areas of Europe, local history museums struggle to connect with the rapidly changing and increasingly diverse communities around them. Insa Müller asks how these museums can recast themselves to strengthen the links to their communities. Combining theoretical deliberations, empirical investigations of the case of two Norwegian islands and a museum experiment, she offers starting points for rethinking this institution, while at the same time providing suggestions for locally adapted museum practice.

How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon.
The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as ‘art objects’ by Europeans; and works by contemporary artists who are taking on colonial history in their work and activism today.

Cultural economics has become well established as a subject of interest for students and teachers of courses ranging from economics to arts administration as well as for policy-makers and practitioners in the creative industries. Digitisation has had a tremendous impact on many areas of the creative economy and the third edition of this popular book fully reflects it.