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.
Full textGroves, Leroy. "The politics of cultural policy." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3504/.
Full textFazlioglu, Akin Zulal. "Cultural Policy in Turkey – European Union Relations." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502860978590657.
Full textBjørnsen, Egil. "Norwegian cultural policy : a civilising mission?" Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/2740/.
Full textChun-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/.
Full textWoddis, Jane. "Spear-carriers or speaking parts? : arts practitioners in the cultural policy process." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/2591/.
Full textLee, 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.
Full textCoy, 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.
Full textHeidelberg, 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.
Full textDewey, Patricia Marie. "Training arts administrators to manage systemic change." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1085002604.
Full textSmith, Rachel May. "Evaluating the Cultural Plan of Austin, Texas." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407737/.
Full textLewis, Tiffany Emma. "Exercises in Soft Power and Cultural Diplomacy: The Cultural Programming of the Los Angeles and London Olympic Games." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430946430.
Full textHewitt, Andy. "Art and counter-publics in Third Way cultural policy." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5679/.
Full textMcLennan, Lesley. "Competition policy and its impact on the performing arts in Queensland." Thesis, Queensland University of Technology, 2000. https://eprints.qut.edu.au/36342/1/36342_McLennan_2000.pdf.
Full textAu-Yeung, Shing, and 歐陽檉. "Cultural policy in action: a comparative study of community arts endeavours in Hong Kong and Sydney." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45155173.
Full textGibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.
Full textChang, Woong Jo. "Small Arts Organizations: Supporting their Creative Vitality." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316377062.
Full textIllien, Gildas. "Les fonctions politiques du centre culturel : la Place des Arts et la Révolution tranquille." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23336.
Full textL'etude de ces differentes dimensions de l'histoire de la Place des Arts confirme le caractere profondement politique que peuvent revetir des institutions dont les fonctions originales se limitent en apparence a des activites artistiques. (Abstract shortened by UMI.)
Small, Jarred David. "Discovering Chile: Addressing International Reputation Through the Arts." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1428959484.
Full textWilliams, Germaine Shaw. "(Re)Culturing the City: Race, Urban Development, and Arts Policy in Chicago, 1935-1987." Research Showcase @ CMU, 2015. http://repository.cmu.edu/dissertations/473.
Full textKim, Min Kyung. "Governance Matters in Policy Design Process for Urban Cultural Redevelopment: A Comparative Case Study of Gordon Square Arts District and Uptown District in Cleveland, Ohio." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu154654842562896.
Full textChang, Bi-yu. "Cultural change and identity shift in relation to cultural policy in post war Taiwan, with particular reference to theatre." Thesis, City University London, 2002. http://openaccess.city.ac.uk/7619/.
Full textRichards, 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.
Full textRichards, 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/.
Full textBianchini, Franco. "Cultural policy and political strategy : the British Labour Party's approach to arts policy with particular reference to the 1981-86 GLC experiment." Thesis, University of Manchester, 1995. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658063.
Full textSimon, Lydia Noelle. ""Cultural Creative Industry Parks" and Chinese Contemporary Art—A Comparative Study of Beijing's 798 Arts District and Songzhuang Artist Village." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149265536987791.
Full textCruz, Kymberly M. "School-Musuem Partnerships: Examining an Art Musuem's Partnering Relationship with an Urban School District." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/msit_diss/92.
Full textLai, Wai-tin Belinda. "A study of the policy on the performing arts in Hong Kong is the West Kowloon Cultural District project a solution? /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36554492.
Full textLee, Ra Won. "Interorganizational Relationships and Mergers of Nonprofit Arts Organizations: Two Case Studies of Mergers of Nonprofit Arts Organizations." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1451948476.
Full textTwaalfhoven, Lotte. "The Cultural Preservation of the Navajo Nation. A multicultural and assimilation policy analysis on the Navajo Nation and cultural preservation." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22853.
Full textSmith, Amanda Jane, and n/a. "Making cultural heritage policy in New Zealand." University of Otago. Department of Political Studies, 1996. http://adt.otago.ac.nz./public/adt-NZDU20070530.152110.
Full textKuzin, James. "Creative City and Fields of Cultural Production: Ethnographic Perspectives of “The Arts” in Tampa." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002469.
Full textMitchell, DeAvin Anthony. "A Collection of 20 Poems: Using Poetic Inquiry in Response to Literature on Race, Work Policy, and Social and Cultural Theory." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu16186200315852.
Full textGrabowski, Camille. "L'éducation artistique dans le système scolaire français de 1968 à 2000." Thesis, Paris, Institut d'études politiques, 2013. http://www.theses.fr/2013IEPP0059/document.
Full textAfter the 2nd world war, the french society has to deal with new demographic and economic datas. It has to be taken into account by the french education system which should adapt, break down barriers between disciplines and promote intedisciplinary because just school can overcoming social determinism linked at birth. The Amiens’ symposium (1968) lays the foundation for reflection which fed all the thoughts about artistic education. The seventies see the amendment for School and first thinking and experimentations for Culture. Eighties tag an actual opening of school for cultural institutions, the mediation of external partners and new topics. Opening, but also agreement between all the characters. The protocole d’accord signed in April 1983 between ministry of culture and ministry of education and the law about arts education (1988) are the results of an agreement. In the nineties, thinking globally about arts education and on a territory scale seem to be the best way to make work together schools, cultural facilities and to ensure a perfect network coverage, and so to reach cultural democratisation. But actually, we observe a stack of messy contracts. The plan Lang/Tasca which should come true till december 14, 2000, opens a new chapter. But the achievement of that brand new plan is not insured by its decision
Yoon, AhYoung. "Aging and Arts Policy: Interrogating Perceptions of Older People in South Korea." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503016550067467.
Full textKim, HwiJung. "Making creative connections: A study on the relationship evolution and developing the Arts and Business Relationship Model in a changing cultural policy." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253543181.
Full textWebb, Aleksandra. ""We need arts as much as we need food. Our responsibility is for that to be possible" : insights from Scottish cultural leaders on the changing landscape of their work." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21478.
Full textCrocitti, Olivier. "Feux d'artifices de bons sentiments : transformer l'incoercible confrontation entre démocratisation de la culture et démocratie culturelle afin de définir des complexes artistiques : mais... qu'est ce que l'art ?" Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC011/document.
Full textThe Great Culture and the Great Public as mythical as Alexander or From the art of taking distance. What is art ? Verfremdung → to make stranger. While cultural exhibition tends to be events that are most often apprehended through their relation to the Great Public – sometimes legitimating, sometimes repulsive,sometimes motive and often simultaneously recipient, adjuvant, opponent, expected, persona non grata andalmost always juge-baromètre arpenteur, supposedly outside of concern of that event – we will try to bringout from these different policies (that pay close attention to numerical parameters) the complicities and contradictions between artistic/cultural practices and democratic practice. Can we still bet on subvertissant power of cultural production as ideological enhancer and democratical antioxidant whereas the culturallandscape seems to be shaped by a festivisation oxymoronique, a nivellement-exacerbant ?
Arguello, Vargas Tatiana. "Culture and Arts in Post Revolutionary Nicaragua: The Chamorro Years (1990-1996)." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1281638909.
Full textLai, Wai-tin Belinda, and 黎慧沺. "A study of the policy on the performing arts in Hong Kong: is the West Kowloon Cultural District project a solution?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36554492.
Full textJohnson, Bernard T. (Terry). "Towards Understanding Water Conservation Behavior in Southwest Florida: The Role of Cultural Models." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3656.
Full textHannesson, Haukur F. "Symphony orchestras in Scandinavia and Britain : a comparative study of funding, cultural models and chief executive self-perception of policy and organisation." Thesis, City University London, 1998. http://openaccess.city.ac.uk/7571/.
Full textChoo, YeunKyung. "Strategies for Urban Cultural Policy: The Case of the Hub City of Asian Culture Gwangju, South Korea." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420732989.
Full textSin, Song-Chiew James, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Arts, culture and museum development in Singapore." THESIS_FPFAD_XXX_SinSongChiew_ J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/240.
Full textMaster of Arts (Hons)
Girard, Claire. "The internet table: how Canadian arts and culture organisations engage with telecommunication policy." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119753.
Full textCe projet examine l'engagement d'organismes culturels Canadiens avec les politiques de télécommunication lors de deux audiences publiques au Conseil de la Radiodiffusion et des Télécommunications Canadiennes (CRTC) en 2009. Le mémoire argumente que durant l'audience sur La Radiodiffusion Canadienne par les Nouveaux Médias ces organismes ont ajouté de nouvelles problématiques aux intérêts, historiquement centrés sur le contenu, qu'ils défendent et ont commencé à plaidoyer les politiques qui gèrent le transport des données. Lors de la seconde audience, l'Examen des Pratiques de Gestion du Trafic Internet des Fournisseurs de Services Internet, ces organismes ont adressé directement le design, l'implémentation et le fonctionnement technique des technologies de la télécommunication dans leurs commentaires et présentations au Conseil. Le mémoire propose une typologie des organismes culturels Canadiens et résume leurs antécédents en défense des politiques culturelles et des communications. En utilisant une définition de la technologie orientée par les Études des Sciences et Technologies ainsi que de la théorie de l'acteur-réseau le projet démontre que la participation de ces groupes aux forums officiels d'élaboration des politiques de gouvernance internet est complétée par d'autres modes productifs d'interaction avec les technologies d'information et de communication (TIC). À l'aide d'exemples d'intégration des TIC par ces organismes dans leur travail le mémoire fait valoir que de telles pratiques produisent et contribuent à la redéfinition de l'internet. Les organismes culturels du Canada gagneraient à adopter une définition des TIC qui reflète leur relation mutuellement constitutive et co-productive. Le mémoire conclut que les infrastructures de télécommunication doivent être comprises comme étant des acteurs matériels et des participants afin de renforcer et responsabiliser les pratiques et la défense de politiques de ces organismes.
García, García Beatriz. "Towards a Cultural Policy for Great Events. Local and Global Issues in the Definition of the Olympic Games Cultural Programme. Lessons from the Sydney Olympic Arts Festivals 1997-2000." Doctoral thesis, Universitat Autònoma de Barcelona, 2002. http://hdl.handle.net/10803/4111.
Full textLas nociones y aplicaciones de una política cultural son analizadas en el contexto de la red global del gran evento- en el caso de los Juegos Olímpicos, el Comité Olímpico International (COI) - y en el contexto del anfitrión local - Sydney y Australia. La influencia de la red global del evento es estudiada a través de una revisión histórica de la definición de cultura y programa cultural en el Movimiento Olímpico, y mediante el análisis de las estructuras y agendas culturales del COI. A un nivel local, las convergencias y divergencias entre el programa cultural del evento y la política cultural de la ciudad y país anfitrión se explican a partir del estudio del contexto histórico, social y político de Sydney -Australia; las estructuras de gestión del evento, sus estrategias de promoción, y sus impactos a corto plazo.
Uno de los hallazgos clave de la tesis es que los planteamientos de una política cultural tienen una influencia menor en la producción del programa cultural de un gran evento. El COI no tiene una política cultural definida y es por tanto incapaz de ofrecer una guía cultural consistente para los organizadores de respectivos Juegos Olímpicos. Esto indica que la capacidad de producir de un programa cultural representativo y relevante depende enteramente de las habilidades y prioridades de la comunidad local y sus líderes. Sin embargo, el estudio del caso de Sydney e investigaciones sobre casos anteriores revela que el papel de planificadores y gestores culturales en la organización de grandes eventos es muy marginal. Por el contrario, la mayoría de eventos son dirigidos por los intereses económicos de inversores privados y públicos, y por derivadas estrategias de márketing.
La tesis concluye indicando que grandes eventos como los Juegos Olímpicos son a menudo incapaces de dejar un legado cultural relevante y de ofrecer una experiencia representativa que sea apropiada por la comunidad local. Esto se debe al énfasis desmesurado en la protección de intereses económicos mientras los aspectos sociales y culturales del evento son relegados a una posición secundaria. A pesar de los éxitos conseguidos en el desarrollo de estrategias de márketing y promocionales para grandes eventos, sólo la creación de una política cultural coherente puede asistir en la consecución de un legado que vaya más allá de impactos económicos a corto plazo, y sea capaz de llegar a la comunidad anfritiona y espectadores globales de manera significativa y distintiva.
This thesis studies the current state and application of cultural policy principles in the production of a great event's cultural programme. The thesis departs from the idea that cultural policy principles can be a useful tool to guide the design, management and promotion of an event's cultural programme. Furthermore, it is considered that the cultural relevance of a great event is highly dependent on the consistency of the policy choices informing its cultural dimensions both at a global and a local level. In this context, the thesis aims to explore whether notions of cultural policy provide a good platform for managing and communicating the cultural dimension of a great event such as the Olympic Games, in particular, the Games official cultural programme. The thesis uses the Sydney 2000 Olympic Arts Festivals as a case study.
Notions and applications of cultural policy are analysed according to the event's global network - the IOC - and its local host - Sydney and Australia. The influence of the event's global network is studied through a historical review of notions of culture in the Olympic Movement and an analysis of the cultural structures and agendas within the IOC. At a local level, convergences and divergences between the event's cultural programme and the cultural policy of the local host are explained on the grounds of the Sydney and Australia's social and political context, the event structures of management, its promotional strategy and its short-term impacts.
A key finding of the research is the very limited influence that cultural policy principles have in the production of a great event's cultural programme. The IOC does not have a clearly defined cultural policy and is thus unable to offer a consistent guide for respective Games organisers. This means that success in implementing locally representative cultural programmes depends entirely on the event host community. However, research on the Sydney case and commentary on prior events reveals that cultural planners and policy-makers have a marginal role in the planning and organisation of great events. Instead, events are driven by economic interests and marketing strategies.
The thesis concludes that great events such as the Olympic Games frequently fail to leave long-term cultural legacies and are often unable to provide an experience that fully engages and represents the host community. This occurs because there has been an over-emphasis on economic interests while the social and cultural aspects of the event have been deemed secondary. Regardless of the success in developing event marketing and promotional strategies, only the creation of coherent cultural policies can assist securing an event legacy that goes beyond economic impacts and touches host communities and global viewers in meaningful and distinctive ways.
O'Donnell, Thomas Vincent, and vincent odonnell@rmit edu au. "An investigation of the dynamics of cultural policy formation : the states' patronage of film production in Australia 1970-1988." RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070119.110944.
Full textSeutloadi, Kedibone Dominica. "An evaluation of the transformation process in the performing arts councils in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/49746.
Full textENGLISH ABSTRACT: The Performing Arts Councils (PACs) have been the primary recipients of national public funding for the performing arts, accounting for nearly half of the arts and culture budget of the Department of Arts, Culture, Science and Technology (DACST). They had to be restructured in order to free public resources for allocation to other disciplines and areas in need of redress. The four PACs addressed in this study are The Playhouse Company (Durban), Artscape (Cape Town), PACOFS (Bloemfontein), and the Spoornet State Theatre (Pretoria). The purpose of the study was to determine whether or not the PACs had achieved the transformation goals as defined by DACST. The research was approached from a qualitative perspective to ensure that as much nuanced information as possible was collected within a limited timeframe and financial constraints. Where necessary, as in analysis of staff and expenditure, quantitative analyses were undertaken. The study found that the process of converting PACs to playhouses had been inconsistently implemented, although some of the PACs had come a long way in transforming themselves. Funding was obtained from government subsidies, NAC funding for specific projects, sponsorships, and other minor sources of income such as box office sales. Traditional forms of the performing arts, specifically opera and ballet, still accounted for a large portion of the total expenditure. PACs have had considerable difficulty in obtaining provincial and local government support, or adequate business sector support to make them viable as stand-alone entities. None of the PACs has been able to secure sustainable funding on a reliable basis to meet their requirements. DACST regards the implementation of a Community Arts Development (CAD) component and the establishment of the NAC as essential for an equitable arts dispensation in the country. CAD is meant to provide education and empowerment of people from previously disadvantaged communities, access to PAC venues and NAC funding, and awareness and outreach programmes. The CAD component varies substantially from PAC to PAC. The White Paper on Arts, Culture and Heritage recognises that the future of arts and cultural expression lies in the development of new audiences and markets. Audience development and facilitating access to venues has been left to the PACs, with little effect in some cases. The transformation of the staff profile of PACs to reflect the demographics of their provinces has been achieved. As the resultsof the study show each PAC took it upon itself to transform itself in its own way. As a result, transformation by the various PACs was found not always to be in line with the imperatives contained in the White Paper on Arts, Culture and Heritage (DACST, 1996).
AFRIKAANSE OPSOMMING: Die Rade vir Uitvoerende Kunste (RUK) was tot op hede die vernaamste ontvangers van nasionale staatsbefondsing vir die uitvoerende kunste, en het bykans vyftig persent van die Departement van Kuns, Kultuur, Wetenskap en Tegnologie (DKKWT) se begroting vir kuns en kultuur verteenwoordig. Hierdie Rade moes herstruktureer word sodat staatshulpbronne wat vir ander dissiplines en gebiede wat regstelling nodig gehad het, aangewend kon word. In hierdie studie is die vier Rade vir Uitvoerende Kunste "The Playhouse" (Durban), "Artseape" (Kaapstad), RUKOVS (Bloemfontein) en die Spoornet-staatsteater (Pretoria) bestudeer. Die doel van die studie was om te bepaal of die Rade vir Uitvoerende Kunste 'n transformasie, soos gedefinieer deur die DKKWT, ondergaan het. Die navorsing is vanuit 'n kwalitatiewe perspektief benader om te verseker dat so veel moontlik genuanseerde inligting binne 'n beperkte tydsbestek en te midde van finansiele beperkinge ingesamel is. Waar nodig, soos in die analise van personeel en uitgawes, is 'n kwantitatiewe benadering gevolg. Daar is bevind dat daar deurgaans uitvoering gegee is aan die omskepping van die Uitvoerende Kunsterade in skouburgteaters, hoewel sommige Rade reeds 'n ver pad met betrekking tot selftransformasie geloop het. Befondsing was afkomstig van staatsubsidies, NUK-befondsing vir spesifieke projekte, borge en ander minder beduidende bronne, byvoorbeeld inkomste uit kaartjieverkope. Tradisionele vorms van die uitvoerende kunste, veralopera en ballet, het steeds 'n beduidende deel van totale uitgawes uitgemaak, en Rade vir Uitvoerende Kunste het groot probleme ondervind om genoegsame steun van provinsiale regerings, plaaslike owerhede en die besigheidsektor te werf om hulle in staat te stelom as lewensvatbare en onafhanklike entiteite te funksioneer. Nie een van die Rade vir Uitvoerende Kunste kon daarin slaag om befondsing van 'n standhoudende aard te bekom waarop hulle kon reken om aan hul vereistes te voldoen nie. Die DKKWT beskou die implementering van 'n Gemeenskapskunsontwikkelingkomponent (GKO) en die stigting van die NUK as onontbeerlik vir 'n regverdige kunste-bedeling in die land. GKO beoog om voorsiening te maak vir die opvoeding en bemagtiging van mense III die voorheen agtergeblewe gemeenskappe, toegang tot plekke waar GKO-optredes gehou word, NUKbefondsing, asook bewustheids- en uitreikprogramme. Die GKO-komponent wissel aansienlik van RUK tot RUK. Die Witskrif oor Kuns, Kultuur en Erfenis erken dat die toekoms van kuns- en kulturele uitdrukking in die ontwikkeling van nuwe gehore en markte opgesluit lê. Die ontwikkeling van gehore en makliker toegang tot plekke waar optredes aangebied word is in die hande van Kunsterade gelaat; in sommige gevalle met weinig effek. Die transformasie van die Rade vir Uitvoerende Kunste se personeelprofiel ten einde die demografiese werklikheid van elke provinsie te weerspieel was suksesvol. Soos duidelik uit die studie blyk, het elke Raad vir Uitvoerende Kunste onderneem om die transformasie op sy eie manier te implementeer. Die gevolg is dat die transformasie in die verskillende Rade vir Uitvoerende Kunste nie altyd tred hou met die bindende opdragte wat in die Witskrif oor Kuns, Kultuur en Erfenis (DKKWT, 1996) vervat is nie.
Ndzuta, Akhona Amanda. "South African Festivals in the United States: An Expression of Policies, Power and Networks." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554903391508711.
Full textWilliams, Dwayne Andrew. "Englehart Arts District Plan : a cultural economic revitalization of a commercial shopping district in Gary, Indiana." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133734.
Full textDepartment of Urban Planning