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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.
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.
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 .
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.

The contents of this publication are results from the action-research program INCLUDE carried out in 1998-99 and 1999-2000. The INCLUDE Project was designed by the Interarts Foundation in the framework of the Leonardo Da Vinci Programme (Formerly DG XXI: Education and Youth), financed by the European Commission. The main objectives of the INCLUDE project have been to analyse and evaluate cultural policies, projects, programmes and methodologies concerning employment creation within the cultural sector in order to propose a curriculum design for cultural managers as local development agents. The project was carried out in three phases.
The first phase was devoted to the analysis of European local and regional cultural policies through the study of the data gathered and collated in the FACTUS data base. The second phase included the expansion of this action-research through the study of the conclusion of the INCLUDE Survey in collaboration with 13 European cultural training and education centres. The third phase aimed at raising new interest within the training communities to observe whether the objectives had been accomplished, to examine the obtained results and to explore some future perspectives in their field of competence. One of the main objectives of the INCLUDE Project was to provide a curriculum design built specifically for the cultural management training in order to recognize the role of the Cultural Manager as key agent for local development.
The curriculum design introduced in this edition is one of the first of its kind and has been already successfully implemented in training.
The most successful nonprofit arts organizations are continually seeking creative ways to advance their missions while increasing revenue. In the Washington, D.C. metropolitan area, long-term partnerships with large companies have facilitated the growth of several nonprofits that benefit children and young people.
FILM INDUSTRY BROADBAND RESOURCES ENTERPRISE (FIBRE) was formed in November 2000 by a number of key players in the post production industry, following a First past the Post forum in Sydney and Melbourne, hosted by the Minister for Communication, Information, Technology and the Arts, Senator Richard Alston. Each forum confirmed the difficulties faced by the industry in obtaining cost-effective broadband connectivity to suit the difficult and often unpredictable needs of post production.

The founding mission of FIBRE was to secure affordable broadband connectivity between companies and locations in Australia and with trading partners in key production locations around the world.
The Canadian Arts Presenting Association/L'Association canadienne des organismes artistiques (CAPACOA) will convene its 16th annual conference on November 1517, 2003 in Ottawa.

The conference includes working sessions and a resource room, in addition to a live performance showcasing component. (Showcases are allocated by a juried competition.) There is also a two-day professional development institute immediately preceding the conference.
The meeting in Nairobi, 19 December 2002, was organised, on behalf of the Division of Cultural Policies of UNESCO, by the Regional Centre of Cultural Action (CRAC, Lomé, Togo) in the framework of a project aimed at stregthening the regional capacities of training specialized personnel in the field of cultural development and cultural polices for cultural development.
The meeting was held in Nairobi, 16-18 December 2002, with the participation of 30 specialists representing the various field of culture and the different regions of the continent in view of preparing the Panafrican Cultural Congress. This congress will be organized in 2003 jointly by the African Union, UNESCO and the Ford Foundation in the framework of the follow-up of the Intergovernmental Conference on Cultural Policies for Development (Stockholm, 1998) with a view to

- Review the cultural trends and the evolution of national cultural policies in the region since the last OAU conference of ministers of culture (Cotonou, 1993),
- Establish a state of the art of the situation,
- Identify the new problems and challenges,
- Set new perspectives for the future.

On the basis of the working documents established by the AU Secretariat, the meeting was invited, among others, to
- Establish a list if themes proposed for inclusion in the agenda of the Congress;
- Make suggestions for the intellectual preparation of the congress and its programme;
- Prepare a project document in view of mobilizing partnership.
Shuttle 02 follows on from a large scale cultural exchange programme initiated by The Nordic Council of Ministers, which ran for a two year period, 1998-99 and which encompassed more than 50 individual exchange projects within dance, theatre, music, literature and photography with South African counterparts.This innovative network based programme proved to be so successful that it generated a number of longer-term exchange and development programmes.
The project was initiated in 1995 in response to recommendations that the Institute include cultural change into its research priorities and profile. The main objectives are:
1. to encourage new research and studies in the Nordic countries on cultural change and issues in Africa;
2. to create a network of scholars in the Nordic countries and Africa for co-operation and contacts;
3. to contribute to a critical examination of the negative and prejudiced images of Africa in the Nordic countries;
4. to encourage an interest in contemporary African cultural expressions.
The project covers three themes:
1) Culture and identity
2) Image formation in Africa. European encounters
3) Cultural dynamics of contemporary Africa

Commissioned by the Ministry of Culture and Media Culture and Tourism assesses the cultural places and cultural heritage institutions of national importance in German the 'Leuchttürme and Gedächtnisorte.
The interconnections between culture and tourism have been a recent focus of cultural policy in Europe at the level of the European Union as well as countries, regions and cities. "Culture and Tourism in the New German Länder" fills a further gap in cultural policy research and practice.

The study was undertaken by Dr. Cornelia Dümcke, an expert in cultural economics (Culture Concepts Berlin, www.cultureconcepts.de ) and deals with the connections between culture and tourism from a politico-cultural perspective.

Pundits speculate that as many as 80% of tickets will be sold online by 2005. The development of internet ticketing will, in many ways, be the catalyst for change in the way tickets are marketed in the future. Venue managers and producers/promoters face many new challenges with the need to reduce their cost of sales being of paramount importance. The historical business model of using third parties for e-marketing and charging fees on tickets will become less commercially viable. But there is a dichotomy - cost reduction must be achieved without compromising the efficiency of the transaction. Additionally, Box Office managers building Customer Relationship databases need to capture more information about their customer base, not less. Yet, customer expectations are changing and speed is of the essence. To address these complex needs, leading software supplier ARTIFAX has just launched ARTIFAX Ticketing a totally integrated box-office and venue management package. ARTIFAX is hosting a series of complimentary countrywide seminars throughout June 2002.
Nonprofit arts and cultural organizations are a critical component of the State of the Arts Report. They are the foundation of cultural life in Ohio's communities. The budgets, staffs, boards, partnerships and planning of nonprofit arts organizations were studied to give a financial picture of the arts in Ohio.
Financial data from the National Center for Charitable Statistics (NCCS) (Urban Institute, Washington, DC) 1998 Return Transaction File database was used for two purposes: to develop a sample for the State of the Arts Report and to supplement the data collected by the State of the Arts Report mail survey.
There are many nonprofit arts organizations in Ohio that do not apply to the Ohio Arts Council, and some, based on responses to the State of the Arts Report stakeholder survey, have never heard of the OAC. With this in mind, the NCCS's database was used to generate a sample of arts organizations with budgets greater than $25,000. A sample of 686 nonprofit arts organizations was created.
Since the mid-1990's, nonprofit organizations have been aware of the potential income opportunities that the Web promises. With recent developments in e-commerce and the fast pace of Internet growth, people are becoming more ready to donate online. The most stunning example is $1.2 million in online gifts for Balkan Relief, from more than 9,000 donors received by the Red Cross in the first half of 1999.
EUCLID is the official EC Cultural Contact Point in the UK for Culture 2000, which is an EU funding programme offering support for arts and cultural projects in the performing and visual arts, heritage and books/reading sectors. EUCLID provides support and assistance for potential applicants to this programme and guidance on other EU funding opportunities for the cultural sector.
A free electronic newsletter summarising cultural information and opportunities from across Europe, with a particular focus on EU funding and information.