Relevant bibliographies by topics / 130103 The creative arts

Academic literature on the topic '130103 The creative arts'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "130103 The creative arts"

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Zindel, Bonnie. "Creative Literary Arts." Psychoanalytic Perspectives 7, no. 2 (November 2010): 416–17. http://dx.doi.org/10.1080/1551806x.2010.10473104.

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김현숙. "Creative Arts and Zen." Korean Journal of Art and Media 14, no. 1 (February 2015): 85–112. http://dx.doi.org/10.36726/cammp.2015.14.1.85.

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Jones, Diana. "Creative arts in rehabilitation." International Journal of Therapy and Rehabilitation 18, no. 11 (November 2011): 599. http://dx.doi.org/10.12968/ijtr.2011.18.11.599.

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&NA;, &NA;. "PRATT CREATIVE ARTS EVENTS." Family & Community Health 10, no. 4 (February 1988): 84. http://dx.doi.org/10.1097/00003727-198802000-00017.

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Brown, Ralph. "Performing Arts Creative Enterprise." International Journal of Entrepreneurship and Innovation 6, no. 3 (August 2005): 159–67. http://dx.doi.org/10.5367/0000000054662836.

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The UK government has recently established the National Council for Graduate Entrepreneurship (NCGE) to promote entrepreneurship in higher education, across all subject disciplines. This article considers the UK government's policy initiative from the perspective of a new project supporting tutors in the performing arts sector, who are working to ‘bridge the gap’ between arts education and professional artistic practice. The article explores, in particular, fundamental issues such as: what is distinctive about cultural entrepreneurship and how can it be taught? It also discusses the role of higher education institutions in developing relationships with the creative industries sector and in developing training and support systems for aspiring professional artists.
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Bradt, Joke, and Sheryl Goodill. "Creative Arts Therapies Defined." JAMA Internal Medicine 173, no. 11 (June 10, 2013): 969. http://dx.doi.org/10.1001/jamainternmed.2013.6145.

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John‐Steiner, Vera. "Creative lives, creative tensions." Creativity Research Journal 5, no. 1 (January 1992): 99–108. http://dx.doi.org/10.1080/10400419209534426.

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Appleton, Leo, Gustavo Grandal Montero, and Abigail Jones. "Creative Approaches to Information Literacy for Creative Arts Students." Comminfolit 11, no. 1 (2017): 147. http://dx.doi.org/10.15760/comminfolit.2017.11.1.39.

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Somers, Marion. "Creative Exit." Art Journal 53, no. 1 (1994): 76. http://dx.doi.org/10.2307/777542.

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Somers, Marion. "Creative Exit." Art Journal 53, no. 1 (March 1994): 76–78. http://dx.doi.org/10.1080/00043249.1994.10791611.

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Dissertations / Theses on the topic "130103 The creative arts"

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Verseput, Lisa. "The creative conservatory : a community media & creative arts centre." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60215.

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Johannesburg was built on the discovery and exploitation of gold, but the gold mines are depleted, and a new resource is driving the city: human capital. The ingenuity and aspirations of the dense and diverse population sustain Johannesburg as the economic capital of the country, but the City has lost its golden meaning and is striving for a new identity: to become the Cultural Capital of South Africa, an embodiment of diversity, creativity, and cultural expression. People and cultures of the City mix and spark ideas in public space, so Joubert Park, the central, largest, and oldest park in Johannesburg and home to the Johannesburg Art Gallery, should play a role in Johannesburg's transformation into the Cultural Capital. The Joubert Park Conservatory is a century old ornamental greenhouse, once spectacular, it now lies abandoned and in disrepair. The Conservatory and its precinct currently provides no significant contribution to the public of Joubert Park, but its iconic design and position indicate its potential to be rediscovered as an important public space. This dissertation investigates how spatial interventions can be mobilised to re-establish the forgotten significance of the site, and introduce a programme that will respect and enhance the heritage of the Conservatory and its cultural landscape to contribute to Joubert Park as well as the greater urban environment as the Cultural Capital. The proposed programme is the Creative Conservatory (CC), a community media and arts centre driving universal media accessibility and providing an enabling environment for the cultivation of artistic and cultural expression and development. The CC serves the community, mobilising the arts for social and economic development, thus supporting the creative economy and cultural landscape of Johannesburg. The architectural intervention of the CC is designed for the present, while inspired by and responding to heritage, so as to create places that will remain relevant in the future.
Johannesburg is gebou op die ontdekking en ontginning van goud, maar goud resereves loop nou leeg en 'n nuwe hulpbron kan die stad vorentoe dryf: menslike kapitaal. Die kreatiwiteit en aspirasies van 'n diverse bevolking onderhou Johannesburg as die ekonomiese spilpunt van die land, maar die stad het sy goue betekinis verloor en streef nou na 'n nuwe identiteit: om die Kulturele Hoofstad van Suid Afrika te word - 'n vergestalt diversiteit, kreatiwiteit en kulturele uitdrukking. Mense en kulture in die stad meng en nuwe idees word in publieke ruimtes gegenereer. Joubert Park is die stad se grootste en oudste park en huisves die Johannesburg Kunsgallery, hierdie ruimte kan 'n belangrike rol speek in die stad se transformasie na kulturele kapitaal. Die Joubert Park Konservatorium is 'n eeu-oue en eens indrukwekkended onrnamentele kweekhuis, nou verlate en onversorgd. Die Konservatorium en sy omliggende ruimtes dra nie tot die park by nie, maar sy ikoniese form en posisie hou potensiaal in wat herontdek kan word as 'n publieke ruimte van belang. Hierdie verhandeling ondersoek hoe ruimtelike veranderinge gebruik kan word om die vergete waarde van die terrein te herstel. 'n Nuwe program wat die erfenis van die terrein repspekteer kan dit terselfdetyd verbeter om as kulturele landskap by te dra tot Joubert Park en tot die stedelike omgewing daarom by te dra as kulturale kapitaal. Die program wat voorgestel word is die Kreatiewe Konservatorium, 'n gemeenskapsentrum vir media en kuns wat universele media toegang dryf en 'n omgewing skep vir die kultivasie van kuns en kulturele ontwikkeling en uitdrukking. Die Kreatiewe Konservatorium bedien die gemeenskap en mobiliseer die kunste ten einde sosiale en ekonomiese ontwikkeling te bewerkstellig en soedoende die kreatiewe ekonomie en kulturele landskap van Johannesburg te ondersteun. Die projek is ontwerp vir die hede, ge?nspireer deur en in reaksie tot erfenis, om plekke te skep wat relevant sal bly in die toekoms.
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
MArch (Prof)
Unrestricted
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Tabor, Sarah Owen. "Creative Book Arts Preserving Family History." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/TaborSO2002.pdf.

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Chodoff, Rebekah B. "Developing the Creative Sector: A Comparitive Study of U.K. and U.S. Creative Industry Policies." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391782643.

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Chang, Woong Jo. "Small Arts Organizations: Supporting their Creative Vitality." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316377062.

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Munson, Janelle Francine. "Exploring Leadership in Theater Arts." The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-08042009-145939/.

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My final creative project explores research about what makes a successful community theater and tracks development leading a theater troupe in my hometown of Great Falls, Montana. In my lifetime, three theaters began, thrived and perished in Great Falls. The Green Room, Center Stage and Summer Musicale started as little more than groups of friends who loved theater putting up a show. All three experienced success for several years. However, all three eventually crumbled. Before I built my own troupe, I needed to spend some time planning and learning how to avoid what my predecessors failed to do. I examined my involvement and experiences with these three companies. My reflection, discussions with other theater members, and investigation revealed that lack of experience, inadequate financial understanding and low standards of quality contributed to each of their demises. Following reflection on these companies, I gained insight into what makes a successful theater by interviewing community members who are familiar with theater organizations and the community of Great Falls. With their input and my own reflections I then researched what the experts had to say on the subject. These experts either started their own now prospering companies or they consult with theater companies on how to make an organization better. Equipped with the knowledge from all of these resources, I formulated my own plan to produce quality theater in Great Falls I established the beginnings of a theater organization to produce creative work.
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Richards, Michael John. "Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16036/1/Michael_Richards_Thesis.pdf.

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This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.
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Richards, Michael John. "Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16036/.

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This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.
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Hughes, Pamela. "Microcomputers as creative media in fine arts education." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28240.

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Microcomputer applications to fine arts areas of education have received limited attention although the need for interdisciplinary education made evident in a substantial body of literature would seem to make such applications desirable. The use of microcomputers as creative media for the composition of poetry, art images, and music by grade four students at an elementary school in British Columbia, Canada was observed and analyzed in order to discern what actually happened as a result of the juxtaposition of microcomputers and creative aspects of fine arts. Ethnographic research methodology allowed the classroom teacher to conduct the study in a participant-observer role throughout the 1988-1989 school year. As a side aspect to the study, it was observed that students developed problem solving strategies that involved assessments and value judgements which encouraged those students to accept responsibility for their own learning. Word processed poetry engendered visual awareness that promoted extensive editing and proofreading and stimulated exploration of visual presentations in the genre of concrete poetry. Art images of nonrepresentational and abstract styles predominated because microcomputer capabilities supported such compositions and allowed students to experience satisfaction in their work regardless of their personally perceived proclivities toward portrayal in realistic style. The use of microcomputers facilitated image processing: the explorations of single ideas that resulted in the creation of series of related images. The students revealed developmental stages in music composition approaches and perceptions by the manner in which they structured sound into music. The students integrated concepts and techniques that involved poetry, art, and music into single works and thus demonstrated associative thought processing skills. Microcomputers used as creative media in the fine arts areas of poetry, art, and music enabled unique learning outcomes, provided a previously unavailable means whereby the developmental stages of child music composition were able to be observed, and constantly allowed students to be simultaneously creators and observers of their own work. The students were thus in position to concurrently recognize and respond to artistic form: a position in which aesthetic experiences are possible.
Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Nyarambi, Arnold. "Drumming and Creative Arts in Health and Aging." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/8277.

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Purvis, Bryony. "Between echoes an experiment in creative collaboration." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12466.

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I had been living in South Africa for almost a year by the end of 2010, when I instigated a series of creative collaborations with seven individuals, symbolically understood to represent the heterogeneous assortment of relationships that make up real-life social worlds. The people I began working with comprised those closest to me, those I live with, friends living in distant parts of the world and others that I have never met, but whose work or labour I have so greatly admired that I considered them to be an integral part of my world. I extended seven invitations to join me in a dialogue from which we could produce a visual artefact together. I asked that this dialogue address experiences and thoughts on the relationship between the individual and another; what makes us feel intimate and what causes us to feel estranged. The core aim of this project has been to develop a methodology/process that will produce art from dialogue. I centralised the need for the process to be sensitive to the identity and values of all those involved and capable of a deep engagement with the particularities of that encounter. Through this, a space between individuals is activated from which genuinely new ideas/social meanings are formed, and art produced. I regard this process of formation rather than affirmation as an approach that can redistribute agency in the production of meaning. Communication theorist Sara Diamond notes a distinction between collaboration that is ‘simply working together, creating in a context where there is an intention to either make that relationship on-going or create a product of that labour’, and the kind of collaboration that is ‘the process which combines the knowledge, experience and previous understandings or methodologies that are substantively different from that which the participants or even the partners entered the relationship with’ (Diamond 2003). Her distinction points towards a need to balance inter-subjective dialogue with the preservation of individual identities. Diamond’s later definition of collaboration implies that participants actively engage with difference, and resist conflating the initial diversity that made collaboration an appealing prospect in the first place. In this model, however, there must be an awareness of the limits of communication to represent an external reality as a shared reference. This is potentially a paralysing limitation: if communication of any kind can fail, where does this leave us? Shedding the security of relativism (of subjective expression) in exchange for the perilous task of cumulative, inter-subjective engagement has been key to the development of these eight experiments. The artist in this framework is a provider of ‘context’ rather than ‘content’, entering into collaborative encounters and communicative exchange (Dunn, cited in Kester 2004: 1). This document outlines the complexities of collaborative works, so as to do away with an easy reading. It contextualises the subtleties that define the collaborative approach in which I am interested. Much of what I understand about the work we have made, and the process that produced it, has only come about upon reflection and as a result of countless exchanges and conversations with the seven individuals I have worked with. As such I present the following document as both a retrospective of the collaborative experience, as well as a condensed cluster of ideas that help anchor this project’s core meaning. To structure this ‘research’ document, I have divided my work into nine chapters. The first describes my methodology in a wider context of collaborative practice from an ontological and genealogical perspective, before refining the key concerns that inform my making. These are: the space collaborative art occupies; a pluralistic sensibility towards multiple perspectives; and, finally, the role of dialogue in collaborative projects. The subsequent seven chapters are the visual and textual documents of the process of each collaboration. They illuminate aspects of the process specific to the seven working partnerships. Through separating each partnership my aim has been to preserve their authorship and prevent each collaboration from collapsing under the weight of my own agency. However, the process that unfolds in each of the chapters is only the process thus far, and many of these projects continue to evolve and form a part of my ongoing practice. I regard this research and the practical work it supports to be the generation of a specific collaborative methodology.
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Books on the topic "130103 The creative arts"

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Creative arts. Ypsilanti, Michicgan: HighScope Press, 2012.

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Catherine, O'Sullivan, and O'Sullivan Terry 1957-, eds. Creative arts marketing. 2nd ed. Boston, MA: Butterworth-Heinemann, 2003.

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Catherine, O'Sullivan, and O'Sullivan Terry 1957-, eds. Creative arts marketing. Oxford: Butterworth Heinemann, 1995.

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Books, Time-Life, ed. Creative fire. Alexandria, Va: Time-Life Books, 1994.

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Taylor, Jean. Creative arts in therapy. London: Anglo-Israel Association, 1989.

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Bailey, Sally. Creative Arts Therapy Careers. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003035664.

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Epstein, Ann S. Arts smart: The creative arts in preschool. Ypsilanti, MI: HighScope Educational Research Foundation, 2016.

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Janice, McMurray, ed. Creative arts with older people. New York: Haworth Press, 1990.

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Blake-Strong, Karen. Our creative identities: The arts. [Ontario]: s.n., 2003.

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Stack, Steven. Suicide and the creative arts. Hauppauge, NY: Nova Science Publishers, 2009.

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Book chapters on the topic "130103 The creative arts"

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Gladding, Samuel T. "Creative Arts Exercises." In The Creative Arts in Counseling, 197–220. Alexandria, VA, USA: American Counseling Association, 2015. http://dx.doi.org/10.1002/9781119221630.ch10.

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Saethre-McGuirk, Ellen Marie. "Creative arts processes." In Making Things and Teaching the Creative Arts in the Post-Digital Era, 11–30. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429326264-2.

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McClafferty, Hilary. "Creative arts therapies." In Mind–Body Medicine in Clinical Practice, 100–114. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315157238-11.

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Huylebrouck, Dirk. "Creative Counting." In Mathematics, Culture, and the Arts, 35–53. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04037-6_3.

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Higgs, Joy, Ian Maxwell, Ian Fredericks, and Lyn Spence. "Developing Creative Arts Expertise." In Professional Practice in Health, Education and the Creative Arts, 238–50. Oxford, UK: Blackwell Science Ltd, 2008. http://dx.doi.org/10.1002/9780470690659.ch19.

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Higson, Roger, Elaine Powley, John Salinsky, and Marion Lynch. "Using the Creative Arts." In The Essential Handbook for GP Training and Education, 214–32. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781846197918-23.

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Bast, Gerald. "Fighting Creative Illiteracy." In Arts, Research, Innovation and Society, 5–28. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09909-5_2.

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Bailey, Sally, Loretta Gallo-Lopez, Azizi Marshall, Kevin Spencer, Michelle Yadon, Tracena Marie, Mizuho Kanazawa, et al. "Starting again." In Creative Arts Therapy Careers, 186–242. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003035664-6.

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Bailey, Sally, Nancy Sondag, Lynn Chapman, Alexa Palmer, Kelly Rae Powell, and Tim Reagan. "Finding success." In Creative Arts Therapy Careers, 101–34. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003035664-4.

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Bailey, Sally. "Introduction." In Creative Arts Therapy Careers, 1–4. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003035664-1.

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Conference papers on the topic "130103 The creative arts"

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de Abreu, Filipa Martins, and Álvaro Barbosa. "Creative Engagement." In ARTECH2017: Eighth International Conference on Digital Arts. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3106548.3106599.

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Pangayan, Victor. "Major Selection Tendency among Creative Arts Students, Academy of Arts and Creative Technology, UMS." In International Academic Symposium of Social Science. Basel Switzerland: MDPI, 2022. http://dx.doi.org/10.3390/proceedings2022082026.

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Folgieri, Raffaella, Ludovico Dei Cas, Dario Dei Cas, Maria Elide Vanutelli, and Claudio Lucchiari. "The Creative Mind – DRACLE." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.59.

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Szabo, Kinga. "PREDICTORS OF CREATIVE SELF-EFFICACY, CREATIVE ROLE IDENTITY AND SELF-PERCEIVED CREATIVE BEHAVIOR." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/32/s11.032.

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Tonkovic, Zeljka. "CREATIVE NETWORKS IN A POST-TRANSITIONAL CITY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s13.014.

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Smith, Derek J. "The Remarkably Difficult Psychology of Creative Visualisation." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.54.

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Cuthbertson, Aaron, Sarah Hatton, Gary Minyard, Harper Piver, Christopher Todd, and David Birchfield. "Mediated education in a creative arts context." In the 6th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1297277.1297290.

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Clark, Sean, and Esther Rolinson. "Signal: A Systems-based Creative Collaboration." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.20.

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Safitri, Wiwid, Trie Hartiti Retnowati, and Bambang Prihadi. "Creative Ceramics of Bayat Klaten: Craft Development in a Postmodern Context." In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.008.

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Hoth, Janina. "Creative Technologies and Interdisciplinary Collaboration." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483697.

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Reports on the topic "130103 The creative arts"

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Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, May 2021. http://dx.doi.org/10.23889/sureport.56822.

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This project analysed the creative practices and concerns of young adult artists (18-35 years old) in contemporary Cambodia. It examined the extent to which the arts are being used to open up new ways of enacting Cambodian identity that encompass, but also move beyond, a preoccupation with the Khmer Rouge (1975-1979). Existing research has focused on how the recuperation and revival of traditional performance is linked to the post-genocidal reconstruction of the nation. In contrast, this research examines if, and how, young artists are moving beyond the revival process to create works that speak to a young Cambodian population.The research used NGO Cambodian Living Arts’ 2020 Cultural Season of performances, workshops, and talks as a case study through which to examine key concerns of young Cambodian artists, trace how these affected their creative process, and analyse how the resulting works were received among audiences. It was funded through the AHRC GCRF Network Plus Grant ‘Changing the Story’ which uses arts and humanities approaches to ‘build inclusive societies with, and for, young people in post-conflict settings.
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Hearn, Greg, Marion McCutcheon, Mark Ryan, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geraldton. Queensland University of Technology, August 2020. http://dx.doi.org/10.5204/rep.eprints.203692.

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Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, diverse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Hearn, Greg, Mark Ryan, Marion McCutcheon, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Fremantle. Queensland University of Technology, November 2021. http://dx.doi.org/10.5204/rep.eprints.216570.

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Fremantle is a small port city of only 29,000 people (36,000 if East Fremantle is included) that has vibrant and diversified creative industries and is geographically close to WA’s capital city Perth. Fremantle has a kind of New Orleans cultural DNA, where live music is cheap and affordable. Fremantle has a unique socio‐ cultural fabric that has contributed to the city’s large arts community and its reputation as an energetic creative city.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Ryan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham, and Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Busselton. Queensland University of Technology, January 2021. http://dx.doi.org/10.5204/rep.eprints.207597.

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Located a two-and-a-half hour drive south of Perth, Busselton is one of the largest and fastest growing regional centres in WA, a lifestyle services hub and the gateway to the internationally renowned wine region and popular tourist destination of Margaret River. Promoted by the City of Busselton council as the ‘Events Capital of WA’, Busselton has a strong festival and events economy that fuels local creative and arts production, supported by demographic shifts and population growth that is resulting in more creatives living and working in the city.
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Schell, Laurie. Introduction to Case-making and Systems Change in Arts & Cultural Education. Creative Generation, February 2022. http://dx.doi.org/10.51163/creative-gen009.

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Introduction to Case-making and Systems Change in Arts & Cultural Education is an overview of a collaborative project between Creative Generation and ElevateArtsEd undertaken to better understand how practitioners - such as artists, educators, community leaders, and more - can make the case for and also advocate through arts and culture to drive systemic change and address complex challenges. The project seeks to expand the knowledge base of case-making and systems change in the field of arts and cultural education and provide resources to support effective actions for practitioners and young creatives. Investigating both the theory and the practice of case-making, the introductory article draws on research from three distinct sectors: cultural, education, and social justice. The approach represents both the science of advocacy-- building blocks for understanding what effective advocacy looks like-- and the art of advocacy with calls for improvisation, adaptability, and generative thinking, all characteristics of art making. The article describes six key learning themes and an expanded model for advocacy focused on self, field, and sector through an overarching lens of social justice.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.

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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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