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Arts university student mentors and gallery peer leaders: partnerships for learning
No full textThis case study describes a partnership between University College Falmouth (UCF) and Tate St. Ives (TSI). Framed within a national Enquire project (one strand of a DCMS funded commissioning programme) investigating the learning benefits of gallery education, the report tells the story of a successful collaboration which engaged undergraduate Art student mentors from UCF in a peer leadership project at TSI. The project was evaluated using an innovative action research model to explore peer learning through engagement. Outcomes suggest undergraduate student mentors enhanced their learning in a number of ways: experientially developing the ‘soft’ transferable skills related to employability in the arts; improving their knowledge of employment opportunities in gallery settings; gaining competence in action research
Building audiences: Aboriginal and Torres Strait Islander arts
No full textBuilding Audiences examines the barriers to and the strategies for increasing audiences in the Aboriginal and Torres Strait Islander arts sector. This research investigates the attitudes, beliefs and behaviours of current and potential audiences.
What is in the report?
The findings reveal the key barriers facing audience attendance include:
uncertainty about how to behave at cultural events and fear of offending
lack of awareness with audiences not actively seeking information about Indigenous arts
and outdated perceptions of the sector – that it is only perceived as ‘serious or educational’.
Building Audiences also considered several strategies to build audiences for Indigenous arts:
providing skills development, advice and resourcing to Indigenous practitioners within the arts sector;
increasing representation of Indigenous artists in the main programing of arts companies by including more Indigenous people in decision making roles;
promoting relationships between Indigenous arts and non-Indigenous companies to present their work to wider audiences;
introducing children and young people to Indigenous arts through schools and extracurricular activities;
allowing audiences to feel comfortable engaging by creating accessible experiences;
implementing long-term strategies to change negative perceptions of Indigenous arts.
The project was commissioned by the Australia Council for the Arts and funding partners include Australia Council for the Arts; Faculty of Business and Law and Institute of Koorie Education, Deakin University; Melbourne Business School, The University of Melbourne
Labour and the arts : managing transformation?
No full textPublic support for the arts in England as introduced in 1945 was already atypical in many ways since it operated through an arm's lengthbody and left an important role to the private and voluntary sectors. The adoption of New Public Management (NPM) did not mean a total overhaul of the system, but meant that the State took back some power of decision and control through a specialized Department, created originally in 1992. This Department has asked funding bodies to adopt new management methods which are aimed at their beneficiaries as well... Attempts have also been made to formalise and modify local government support for the arts.
The implementation of NPM to the arts sector proved to be complex. The assessment criteria that were adopted were criticized by most administrators and artists alike for being inadequate and simplistic when applied to this sector.
The effectiveness of the new framework is assessed in the context of the recent growing support for public spending in the arts from a traditionally sceptical public. The new management, accompanied by budget increases, has led to an instrumentalisation of the arts sector through attachment and this can be equated more generally with a trend towards the commodification of the arts
Closed windows onto Morocco's past: Leila Kilani's Our Forbidden Places
No full textStefanie Van de Peer - ORCID: 0000-0003-3152-2912
https://orcid.org/0000-0003-3152-2912Item not available in this repository.https://www.bloomsbury.com/uk/art-and-trauma-in-africa-9781788310772/pubpu
The construction of Karen Karnak: The multi-author-function
No full textThis thesis is situated within the comparatively recent developments of Web 2.0 and the emergence of interactive WikiMedia, and explores the mode of authorship within a Read/Write culture compared to that of a Read/Only tradition. The hypothesis of this study is that the role of the audience has become merged with the author, and as such, represents new functions and attributes, distinct from a more conventional concept of authorship, in which the roles of audience and author are more separate. Read/Write and participatory culture, as defined by this study, is focused on collaboration, and includes the influences of D.I.Y. culture, Open-Source practices and the production of text by multiple authors. Multi-authorship presents a re-thinking of several concepts which support the notion of the individual author, since the focus of multi-authorship is not on attribution and ownership of a finished text, but on the continued malleability of a text. Modes of multi-authorship, demonstrated in the use of the pseudonyms Alan Smithee and Karen Eliot, represent declarative authors whose names signify multiple origins, whilst concurrently indicating a distinct body of work. The function of these names form an important context to this study, since primary research involves the construction of an experimental mode of multi-authorship utilising WikiMedia technology and the interaction of thirty nine participants, who are invited to create a body of work under the collective pseudonym Karen Karnak. The data generated by this experiment is analysed using aspects of Michel Foucault's author-function to identify and determine power structures inherent in the WikiMedia context. The interplay of power structures, including concepts such as identity, ownership and the body of work, affect the resulting mode of authorship and contribute to the construction of Karen Karnak, suggesting further areas of research into the emerging multi-author
Reinventing the non-profit theatre: a study of the growth of educational work in British non-profit theatres from the 1990s to the present
No full textThis thesis examines why non-profit theatres in Britain have become increasingly involved in educational work since the 1990s, from an historical and institutional perspective. With an assumption that this sector-wide organisational change has been caused by a shift in institutional environments of the arts sector, the thesis proposes an institutional framework, where three different institutional logics - artworld, market and policy - coexist and tend to dominate the institutional context at different times.
Using this theoretical framework, the thesis demonstrates that arts policy and management during the post-war period were shaped by the artworld logic. However, the two decades since 1979 have seen the environments become complicated because the institutional logics of the market and policy gained currency. Criticising the limitation of marketisation theory that has so far dominated most analyses of recent cultural policy, the thesis sheds light on the fact that active intervention by the state has replaced the arm’s length principle and the arts - especially arts education and participatory arts activities - are increasingly used for explicit social policy objectives. This phenomenon is defined as ‘politicisation’ of the arts. The rapid growth of educational work since the 1990s is conceptualised as an organisational adaptation of theatres to such environments.
The case study of four English theatres demonstrates that although the theatres have expanded education under unprecedented political pressure, they also try to implicitly resist external intervention and to maximise autonomy. This implies that politicisation is a complicated process of institutional change: whilst new rules, norms and expectations have been developed under the policy logic, the sector’s romantic view of the arts has been reformulated and old ways of working have persisted. Thus, the recent institutional change in the non-profit arts sector is better understood as an integration of different institutional logics, not as colonisation of the arts world by the market or politics. In these dynamics environments, the non-profit theatre can reinvent itself as a creative educator and social impact generator without fundamental transformation in its artistic and management sides
Arts Incubators: A Typology
No full textabstract: Recent policy initiatives evidence a vigorous interest in arts-based community development. Arts incubators are one means for such development, as well as a means for supporting artists and arts organizations. Literature suggests wide variance across arts incubator objectives: some aim “to produce successful firms that will leave the program financially viable and freestanding,” while others pursue such diverse goals as supporting individual professional development, providing gallery space, or advocating for social change. There is also a diversity of organizational forms, governance structures, and funding models. This article offers a typology of arts incubators based on organizational objectives through the lens of stakeholder theory.This is an Author's Accepted Manuscript of an article published as Essig, Linda (2014). Arts Incubators: A Typology. JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY, 44(3), 169-180. http://dx.doi.org/10.1080/10632921.2014.936076. Copyright Taylor & Francis, available online at: http://www.tandfonline.com/doi/abs/10.1080/10632921.2014.93607
Citation ranking versus peer evaluation of senior faculty research performance: a case study of Kurdish Scholarship
No full textThe purpose of this study is to analyze the relationship between citation ranking and peer evaluation in assessing senior faculty research performance. Other studies typically derive their peer evaluation data directly from referees often in the form of ranking. This study uses two additional sources of peer evaluation data: citation content analysis and book review content analysis. Two main questions are investigated: (a) To what degree does citation ranking correlate with data from citation content analysis, book reviews, and peer ranking? (b) Is citation ranking a valid evaluative indicator of research performance of senior faculty members? Citation data, book reviews, and peer ranking were compiled and examined for faculty members specializing in Kurdish studies. Analysis shows that normalized citation ranking and citation content analysis data yield identical ranking results. Analysis also shows that normalized citation ranking and citation content analysis, book reviews, and peer ranking perform similarly (i.e., are highly correlated) for high-ranked and low-ranked senior scholars. Additional evaluation methods and measures that take into account the context and content of research appear to be needed to effectively evaluate senior scholars whose performance ranks relatively in the middle. Citation content analysis data did appear to give some specific and important insights into the quality of research of these middle performers, however, further analysis and research is needed to validate this finding. This study shows that citation ranking can provide a valid indicator for comparative evaluation of senior faculty research performance
Public Support of the Arts in Michigan
No full textWith the loss in jobs and economic stress in Michigan, arts organizations have seen dramatic decline in corporate and individual support. The Michigan legislature in 2004 was faced with a deficit of over $925 million (Bartik and Erickcek, 2005). All areas of the government have been cut including state funding for arts and cultural institutions through the Michigan Council for Arts and Cultural Affairs (MCACA). While attendance is still strong, performing arts institutions have seen significant shifts since 2001 from subscription packages to single ticket sales, indicating limited resources for many people. Today, MCACA is the smallest it has ever been since its inception in 1991. Its budget is less than half of its budget in 2003, and support to its arts organizations has consequently been cut in half as well. Because of the creation of MCACA as a state granting agency, most arts and cultural organizations in Michigan do not receive support from local municipalities. The future of MCACA is currently under great threat and if it were to disappear, financially strapped local municipalities would find it difficult to provide funding for the arts. As Michigan shifts from an economy dependent on manufacturing to one focused on entrepreneurial high-tech industries, communities must find ways to attract and retain the best talent to this region. The quality of arts and cultural offerings will be a significant driver for people to make a life decision to move to and stay in Michigan. For this reason, public support for the arts must continue. How can the funding continue and what can be done to secure its future? These are the questions to be explored in this paper
Creative enterprise in west Yorkshire Arts organisations
No full textThis report describes and theorises the findings of a workshop discussion, commissioned by WYLLN, into the views of arts organizations on the challenges they face in becoming more enterprising and less grant dependent
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