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Across the Bridge - Werktage Building Berlin-Mitte, September 3rd/2002

Built in the early 1900s, the Werktage is currently undergoing a renovation of it´s interior components and now houses not only the gallery and studio spaces, but also the craft- and print-shops and musical studios. The Werktage is an incredible environment for exhibitions, opening up the collected arts and producing an invigorating atmosphere to experience.
Across the Bridge, which began in 1996, has branched out far beyond it´s home in Long Island City with showings across the continents. This is hardly suprising since the artists themselves originate from all corners of the world including Venezuela, Italy, Germany, Peru and the U.S. With expansion has come transformation and the current form (what is another word for this, I am thinking as in evolution) of Across the Bridge is both inspiring and informative.
Commercial Producers had an early Christman present last year, courtesy of the Government. In an article in Prompt, published by the Theatrical Management Association in UK, Neil Adleman of Harbottle and Lewis explains how the grippingly titled "Financial Services and Markets Act 2000" is a vital piece legislation of which producers need to be aware.
"Cultural Industries and Technological Convergence" is the third course in the series on Redefining Cultural Identities and is going to held by the Inter-University Center for Post Graduate Studies (Dubrovnik) and the Institute for International Relations (Zagreb ) in Dubrovnik on 13 - 18 May 2002.
The course is planned to concentrate on cultural industries, aspects of technological convergence and on their influences on cultural consumption and cultural identities in the Southeastern European and Central European countries in transition.
The objective of the course is to provide an analytical insight into development of cultural industries, marketing and consumption of their products and use of related technologies. Possible influences on the processes of redefining of cultural identities in the Central and Southeast European post-socialist societies will be pointed out.
The specific positions available at an arts organization will depend on the organization's activities and the size of its budget and staff.
ACCESS, a non-profit organization dedicated to serving the non-profit sector and those who wish to work in it, made an interview with Ande Diaz (Harvard Office of Career Services) about the specific situation for arts managers while job seeking. Her opinion: "Successful Arts Management Job Seekers Combine Artistic Passion with Non-profit Savvy".
Artts Skillcentre in United Kingdom offers a 100% hands-on, residential course covering all aspects of Television, Film, Theatre and Radio, specialising in Acting, Directing or Production Operations. 94% of the multi-skilled graduates are in regular employment in the entertainment industry
ARTTS SkillCentre provides trainees with the opportunity to mature in their chosen craft through the exploration of their instincts and the discovery of their creative talents - talents which they know instinctively exist, but are unable to develop without the necessary skills and disciplines.
Several of the authors of CANs essays about the field of community arts refer to a devastating RAND study of the financial prospects for U.S. performing-arts organizations. The same study, mentioned in APInews #25, has been quoted at every arts conference since it came out in September 2001.
Small organizations, its says, will probably survive by looking to their communities, and large organizations will harvest the big philanthropic bucks. Its the mid-sized groups that have to worry. The study, "The Performing Arts in a New Era" by Kevin McCarthy, Arthur Brooks, Julia Lowell and Laura Zakaras, costs $20 in paperback, but its available as a free download from RAND's Web site. The site also offers a quick-reading research brief.
Der Akt des Sammelns ist kein einfacher. Denn kulturelle Angelegenheiten haben politische Implikationen.
Im Rahmen der Projektreihe "storyline" besucht "schnittpunkt" die Schausammlungen von unterschiedlichsten Museen in Wien um aufzuspüren, welche Blickwinkel in den jeweiligen Dauerausstellungen präsentiert werden. Der Akt des Sammelns stellt ja im Selbstverständnis dieser Institutionen eine Kernaufgabe dar. Wie wird aber diese Kernaufgabe an die Öffentlichkeit getragen?
fuel4arts.com delivers free marketing tools and ideas to professional arts marketers and artists. The site operates as an online community with over 7,000 members from all over Australia and over 60 countries internationally, including: USA, UK, Canada, Singapore and New Zealand.

fuel4arts assists the arts industry to meet the challenges of 21st century audiences by providing the latest in arts marketing resources, publications and networking opportunities. The website uses leading web technologies to
allow members to personalise the range of online marketing information to best meet their needs.

Membership is free and you can join up online to gain immediate access to all resources. fuel4arts content is sourced globally and served according to key marketing strategies, challenging many of the traditional approaches to arts marketing. Users can access the latest information on:
* Customer Service & Relationships
* Market Research & Audience Analysis
* Strategy & Tactics
* Subscriptions, Group Sales & Ticketing
* Advertising, Publicity, Promotion & Public Relations
* Database Marketing, Direct Mail, Telemarketing & Online
* New Audience Development
* Membership, Funding, Sponsorship and Philanthropy

Professor Joanne Scheff, co-author of 'Standing Room Only: Strategies for Marketing the Performing Arts' and consultant to arts organisations in the USA, Canada, South America and the UK, says:

"I am excited by the potential of fuel4arts - it's a unique and innovative arts marketing resource providing arts managers in Australia and around the globe easy access to highly valuable and timely information."

fuel4arts is produced by Ripe Online who has brought together a team of some of Australia's leading arts and online marketers and developers including Tim Roberts, Emily Walker and Tess Dryza.

fuel4arts is a project of the Australia Council, the Commonwealth Government's arts funding and advisory body. The website was originally launched in 1998 in response to one of the Australia Council's Audience Development and Marketing Division's core goals of enhancing marketing practices and skills nationally.

...marketing tools and ideas to take your work further
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 countrys 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...

1st Annual Ringling Cultural Policy Symposium
The Prospects of Privatization/The Cultural Market and Cultural Darwinism
Ringling Museum and Policy Center
Sarasota, Florida
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, cdorn@mailer.fsu.edu
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 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).
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 Baumols 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.
Contributed by Crispin Raymond, Arts Council of England

When Crispin first started to write Essential Theatre his task, or so he thought, was to update what he had advocated in Clear Sightlines, a book which was much read and valued by those involved in touring. Life is never that simple, however. In the past two years much has changed on the touring circuit and, while it is true to say that the arts never stand still, the pace of change has been phenomenal and not just because of the appearance of National Lottery funds. As a result, Crispins update has evolved into a more complex undertaking. Essential Theatre offers an up-to-date and comprehensive analysis of all aspects of presenting theatre management today.
Diese sog. "Creative Industries" sind alles andere als Industriebetriebe im herkömmlichen Sinne. Vielmehr geht um unzählige Klein- und Kleinstunternehmen - zumeist sogar Einzelkämpfer - die in Summe einen enorm großen und enorm heterogenen Tätigkeitssektor ergeben.

Geprägt ist dieser Sektor von Menschen, die für das normale Geschäftsleben zu künstlerisch und im tradierten Bild des Kunstschaffenden zu wirtschaftlich agieren. Sie sitzen sprichwörtlich zwischen den Stühlen. Bei den Kollegen aus der etablierten Wirtschaft gelten sie oft genug als Spinner, die gute Ideen und wenig Geld haben.