Relevant bibliographies by topics / Arts and cultural policy

Academic literature on the topic 'Arts and cultural policy'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Arts and cultural policy"

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Upchurch, Anna. "Arts management and cultural policy research." Cultural Trends 25, no. 4 (October 1, 2016): 300–301. http://dx.doi.org/10.1080/09548963.2016.1241463.

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Quinn, Bernadette. "Arts festivals, urban tourism and cultural policy." Journal of Policy Research in Tourism, Leisure and Events 2, no. 3 (November 2010): 264–79. http://dx.doi.org/10.1080/19407963.2010.512207.

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Layne, Ron. "Researching Audiences for Arts & Cultural Policy." Media Information Australia 73, no. 1 (August 1994): 52–54. http://dx.doi.org/10.1177/1329878x9407300113.

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Hadley, Steven, and Eleonora Belfiore. "Cultural democracy and cultural policy." Cultural Trends 27, no. 3 (May 27, 2018): 218–23. http://dx.doi.org/10.1080/09548963.2018.1474009.

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Shchukina, Tatiana. "Cultural Diplomacy in Canadian Foreign Policy." Russia and America in the 21st Century, no. 2 (2021): 0. http://dx.doi.org/10.18254/s207054760015924-3.

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In furthering its foreign policy, Canada, as other countries, uses its reputation, advantage and assets to enhance its national interest, and to strengthen its state-to-state, regional and international relations. Comprising a range of instruments, a country's culture and arts stand out as having the unique potential to enrich its foreign policy. Culture and arts have long played a role in Canada's international relations. Government of Canada should develop and implement a comprehensive cultural diplomacy strategy that establish its objectives within the context of Canada's foreign policy, articulate roles and responsibilities, and identify the budgetary resources necessary for the strategy's realization.
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Stevenson, David. "Scottish cultural policy." Cultural Trends 23, no. 3 (June 11, 2014): 133–35. http://dx.doi.org/10.1080/09548963.2014.925277.

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Novak-Leonard, Jennifer L. "Understanding Cultural Policy." Cultural Trends 27, no. 5 (October 20, 2018): 392–94. http://dx.doi.org/10.1080/09548963.2018.1535372.

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Goldberg-Miller, Shoshanah B. D., and Yan Xiao. "Arts Entrepreneurship and Cultural Policy Innovation in Beijing." Artivate 7, no. 1 (2018): 23–47. http://dx.doi.org/10.1353/artv.2018.0004.

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Bennett, Tony, and Mike Savage. "Introduction: cultural capital and cultural policy." Cultural Trends 13, no. 2 (June 2004): 7–14. http://dx.doi.org/10.1080/0954896042000267116.

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Greenhalgh, Liz. "From Arts Policy to Creative Economy." Media International Australia 87, no. 1 (May 1998): 84–94. http://dx.doi.org/10.1177/1329878x9808700110.

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This article considers the may the Labour Party, since its election in May 1997, has promoted ideas about the value of the creative economy to Britain's industrial future. It argues that the Party's approach to the creative economy has more in common with new business and management theories, rather than being a fully worked-out approach to cultural policy. There is now a disjunctive between the recognition of the creative economy and the continued existence of traditional arts policy-making institutions. New government initiatives around the idea of re-branding Britain and promoting Britain's creative economies through the public spectacle and millennium celebrations have opened up this incipient gap between traditional arts policies and new thinking about the creative economy. The article notes that much of the pioneering work developing the idea of cultural industries was carried out more than a decade ago by city councils in Britain, which sought to sustain their small cultural businesses with limited programs of investment and business support. At the time, this work was largely ignored by traditional arts policy bodies. The paper concludes by speculating about whether the Labour Party can turn its rhetoric about the creative economy into a more substantive policy which brings together the mixed economy of public and private in the cultural sector.
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Dissertations / Theses on the topic "Arts and cultural policy"

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Gray, Clive. "The politics of arts and cultural policy." Thesis, De Montfort University, 2003. http://hdl.handle.net/2086/4234.

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The Thesisd rawso n the argumentst,h emesa nd issuest hat haveb eend evelopedth rough a number of publications concerning the politics of arts and cultural policy. The Thesis contains a development of the commodification thesis and the policy attachmenat rgument Thesen ew approachetso the analysiso f public policy haveb een specifically applied to arts and cultural policy. The major focus of this application has beeno n Britain over the last 50 years,a nd has incorporatedn ational,r egionala nd local levelso f analysis.I n additiond evelopmentisn Europeh aveb eenc onsidered. A major theme concerns the necessity for methodological pragmatism in undertaking research within these policy areas. Such an approach allows for the development of appropriate analytical tools for complex policy systems. The validity and utility of the commodificationth esisa ndp olicy attachmenat rgumenat s tools for policy analysis are discussed. December 2003
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Groves, Leroy. "The politics of cultural policy." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3504/.

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Over the past twenty years the arts and culture have become a popular vehicle through which local economic development can be pursued. Whilst this relatively new local economic development tool has generated much interest amongst academics, many have been content to simply provide descriptive accounts of its development. Where theoretical frameworks for analysis have been applied, they have failed to adequately examine and assess those local factors which have contributed to the development of these strategies. Interestingly, the evolution of arts policy as a vehicle through which to pursue economic development, has been mirrored by proliferation In coalitions as preferred vehicles through which governing decisions, at the local level are effected. Current debates surrounding the New Urban Politics have focused on the degree to which current modes of governance reflect: widened representation; increased community empowerment; and increased local autonomy. By employing regime theory as a framework for analysis, this thesis will examine how those local political factors in two cities have influenced the development of cultural strategy. Such an exercise will enable a comment to be made on the degree to which cultural strategies reflect more co - operative forms of decision making, increased access to new forms of expertise and community empowerment.
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Fazlioglu, Akin Zulal. "Cultural Policy in Turkey – European Union Relations." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502860978590657.

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Bjørnsen, Egil. "Norwegian cultural policy : a civilising mission?" Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/2740/.

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This dissertation aims to explore the extent to which what has been termed „the civilising mission‟ has been a central rationale behind Norwegian cultural policy. In order to contextualise the research the German term Bildung, which refers to human growth processes, is used as a conceptual framework. Bildung can be achieved in two different, albeit related, ways: firstly, through an object approach, which takes great works of arts as its point of departure and where personal growth can be achieved through exposure to these and which endorses clear cultural hierarchies, and secondly, through a subject approach, which emphasises each individual‟s own preferences and desires and where a much greater range of cultural activities can facilitate personal growth. In addition to an historical analysis of the ideas that have informed Norwegian cultural policies dating back to 1814, this project draws upon „green papers‟ published by the Norwegian government through its Ministry of Culture. This is supplemented by a more detailed analysis of a key cultural policy initiative of the 2000s: den kulturelle skolesekken (DKS)1, which is a major programme initiated to enable children in primary school to be exposed to art-works produced by professional artists. The project concludes that although a subject and an object approach to Bildung have co-existed throughout the period charted here there has since the 90s been an increased focus on the object oriented approach. This appears evident both in the general cultural policy discourse but articularly through the disciplining aspect of DKS and its strong focus on, what is being referred to as, the „professional arts‟ as a vehicle for Bildung.
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Chun-Ying, Wei. "Taiwan's cultural diplomacy and cultural policy : a case study focusing on performing arts (1990-2014)." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22358/.

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This thesis examines the implementation of cultural diplomacy through the perspective of cultural policy in Taiwan (Republic of China). It elaborates how the policy-making and practice have progressed in response to the changes of Taiwan’s domestic cultural politics and foreign affairs, including its relations with China (People’s Republic of China). As an empirical study, the research focuses on Taiwan’s cultural policy in the timeframe of 1990-2014 and more specifically on the promotion of the performing arts. The research identifies three crucial elements of Taiwan’s cultural diplomacy. It complements traditional diplomacy, acts as an outlet in the process of cultural identity formation, and showcases cultural and creative industries. Each element is prioritised at different phases of policy practice. However, a long-term and continuous strategy is absent. The research reveals that Taiwan’s cultural diplomacy emphasises more on its self-presentation than creating mutuality. The unsettled issues of cultural identity have its profound influence on cultural diplomacy. Meanwhile, the projection of soft power is not necessarily reinforced by the market-driven policy orientation and the quantifiable policy objectives. The research also illustrates the interaction among the government, artists, and other actors from the private sector. The key finding indicates that the government is constrained by bureaucracy and its own contested political status. Civil society at the individual level participates in cultural diplomacy with a sense of enthusiasm, while corporations in general are less motivated. The research provides empirical evidence on communicating soft power through cultural diplomacy without much hard power. In this case, the promotion of soft power is limited and does not necessarily compensate for the deficiency of hard power.
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Woddis, Jane. "Spear-carriers or speaking parts? : arts practitioners in the cultural policy process." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/2591/.

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This thesis investigates the role of arts practitioners in cultural policy activity, both as a general concern for cultural policy studies and in the specific arena of post-war cultural policy in Britain. In so doing it challenges a common perception that arts practitioners have no such involvement, and seeks to discover the extent and form of their activity. it explores the history of practitioners’ participation in cultural policy formation and implementation; what obstacles they have faced and how their involvement could be better facilitated; and, importantly, why it matters whether they are involved. These issues have remained largely unrecognised among cultural policy researchers. Part II of the thesis examines the subject through a case study of new playwriting policy in England. Drawing on unpublished primary documents, interviews, and observation, it pays particular attention to playwrights’ organisations and their history of self-directed activity. These organisations and other agencies concerned with theatre writing are embedded in networks which cross the boundaries of policy and creative practice. The thesis argues that arts practitioners can enhance their place in the policy process through their own actions, and that participation in these networks increases their opportunity for policy input and influence. Of key importance is the question as to why the involvement of practitioners in cultural policy activity is of any significance. The thesis puts forward the view that arts practitioners and their organisations can be seen as part of the fabric of civil society, and their participation in policy activity as contributing to the maintenance and enlargement of democratic life. It is, then, not a marginal issue, nor of concern to the arts alone, but integral to a wider debate about sustaining democratic engagement and the civic arena in the twenty-first century.
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Lee, Da Hyun. "Relational Approaches to US International Cultural Engagement: Promoting National Good and Mutual Understanding through Cooperative Cultural Exchange." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1385737907.

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Coy, Joshua A. "Making Places or Making Waves: Cultural District Policy Making Considerations for the Public Good." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440356497.

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Heidelberg, Brea M. "The Language of Cultural Policy Advocacy: Leadership, Message, and Rhetorical Style." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1355929499.

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Dewey, Patricia Marie. "Training arts administrators to manage systemic change." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1085002604.

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Books on the topic "Arts and cultural policy"

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Arts & economics: Analysis & cultural policy. 2nd ed. New York: Springer, 2003.

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Lemieux, René. The arts and Canada's cultural policy. [Ottawa]: Library of Parliament, Research Branch, 1996.

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Paquette, Jonathan, and Eleonora Redaelli. Arts Management and Cultural Policy Research. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137460929.

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Nigeria. Cultural policy for Nigeria. [S.l: s.n.], 1988.

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Gray, Clive. The politics of arts and cultural policy. Leicester: De Montfort University, 2004.

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Lesotho. Ministry of Tourism, Culture & Environment, ed. National cultural policy framework. Maseru: Ministry of Tourism, Environment & Culture, 2005.

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Pankratz, David B. Multiculturalism and public arts policy. Westport, Conn: Bergin & Garvey, 1993.

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Perkins, Richard. Cultural policy & management in Europe. Warwick: University of Warwick Publications, 2003.

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Cuyler, Antonio C., ed. Arts Management, Cultural Policy, & the African Diaspora. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85810-0.

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1933-, Crane Diana, Kawashima Nobuko, and Kawasaki Kenichi, eds. Global culture: Media, arts, policy, and globalization. New York: Routledge, 2002.

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Book chapters on the topic "Arts and cultural policy"

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DeVereaux, Constance. "Cultural Policy." In Managing the Arts and Culture, 317–44. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003108641-15.

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Andrews, Richard S. "Cultural Policy and the Arts Entrepreneur." In Arts Entrepreneurship, 208–39. New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315712635-7.

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Paquette, Jonathan, and Eleonora Redaelli. "Cultural Policy as Conventional Public Policy." In Arts Management and Cultural Policy Research, 58–76. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137460929_6.

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Redaelli, Eleonora. "Thinking Spatially in Cultural Policy." In Sociology of the Arts, 1–19. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05339-0_1.

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Lacassagne, Aurélie. "Canadian cultural policy and Indigenous arts." In Canadian Cultural Policy in Transition, 83–97. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003134022-7.

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Woddis, Jane. "Arts Practitioners in Cultural Policy Research." In New Directions in Cultural Policy Research, 17–35. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11162-4_2.

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Bourcheix-Laporte, Mariane. "Digital cultural industrialism and the arts." In Canadian Cultural Policy in Transition, 182–97. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003134022-16.

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Towse, Ruth. "Achieving Public Policy Objectives in the Arts and Heritage." In Cultural Economics And Cultural Policies, 143–65. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-1140-9_11.

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Asare, Amos Darkwa. "Arts Management and Cultural Policy in Ghana." In Arts Management, Cultural Policy, & the African Diaspora, 29–50. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85810-0_3.

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Karvelyte, Kristina. "From arts desert to global cultural metropolis." In The Routledge Handbook of Global Cultural Policy, 247–64. New York: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315718408-16.

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Conference papers on the topic "Arts and cultural policy"

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Anoegrajekti, Novi, Sudartomo Macaryus, Ali Al-Ma’ruf, Siti Attas, Agustina Setyari, and Zahratul Umniyyah. "The Traditional Arts and Cultural Policy in Banyuwangi." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286887.

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Martiara, Rina, Budi Astuti, and Supriyanti. "Cultural Mapping of Nusantara Dances: The Development of Multiculture-based Cultural Political Policy Strategies." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008763302720280.

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Abdulkadyrovna, Kutsulova Fatima. "CULTURAL POLICY OF DAGESTAN IN THE PERIOD GREAT PATRIOTIC WAR." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-135-139.

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Passel, Eva Van. "Sustainable Digital Access to Cultural Heritage: Organizational, Financial and Policy Challenges." In Electronic Visualisation and the Arts (EVA 2011). BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/eva2011.58.

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Romanovska, Alina. "UNDERSTANDING THE ROLE OF CULTURE AND CULTURAL LITERACY IN POLICY DOCUMENTS OF LATVIA." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s07.012.

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Szoro, Ilona. "THE ERA OF FREE-CULTURE: A DEMOCRATIC CULTURAL POLICY EXPERIMENT IN HUNGARY (1945�1949)." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s10.062.

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Thomson, Patricia. "Arts Education Against the Policy Grain: Evidence From Cultural Capability Providing Schools in England." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1436469.

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Tallapessy, Albert. "Making the Local Transformative: A Critical Discourse Analysis of Banyuwangi’s cultural policy." In Proceedings of the Third International Conference of Arts, Language and Culture (ICALC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icalc-18.2019.19.

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Nusantara, Henri, Agus Budiman, Tjetjep Rohendi Rohidi, Totok Sumaryanto Florentinus, and M. Ibnan Syarif. "Government Policy, Local Culture, Education." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.006.

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Shirko, Tatiana. "INNOVATIONS IN STATE CULTURAL POLICY IN THE REGIONS OF RUSSIA: KEY CHALLENGES AND STRATEGIES TO OVERCOME THEM." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s26.045.

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Reports on the topic "Arts and cultural policy"

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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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Smyth, Emer. Arts and cultural participation among 17-year-olds. ESRI, November 2020. http://dx.doi.org/10.26504/rs103.

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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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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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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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7

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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8

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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9

Stewart, Andrew. Friction in U.S. Foreign Policy: Cultural Difficulties with the World. Fort Belvoir, VA: Defense Technical Information Center, March 2006. http://dx.doi.org/10.21236/ada448800.

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10

Stewart, Andrew W. Friction in US Foreign Policy: Cultural Difficulties with the World. Fort Belvoir, VA: Defense Technical Information Center, June 2006. http://dx.doi.org/10.21236/ada450151.

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