Relevant bibliographies by topics / Community Arts

Academic literature on the topic 'Community Arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Community Arts"

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Moon, Seungho. "The ARtS Community Without Community." SAGE Open 6, no. 3 (August 16, 2016): 215824401666477. http://dx.doi.org/10.1177/2158244016664772.

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Fensham, Rachel. "(Post) community arts?" Continuum 8, no. 2 (January 1994): 188–95. http://dx.doi.org/10.1080/10304319409365674.

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Sanoff, Henry. "Community arts facilities." Design Studies 9, no. 1 (January 1988): 25–39. http://dx.doi.org/10.1016/0142-694x(88)90024-5.

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Martínez, Max. "Guadalupe Cultural Arts Center: A community arts success." New Directions for Philanthropic Fundraising 1993, no. 1 (1993): 23–36. http://dx.doi.org/10.1002/pf.41219930105.

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Rademaker, Linnea L. "An Arts Advocacy Group Performs Community Arts Education: Community Development with Implications for K-12 Arts Education Policymaking." Arts Education Policy Review 108, no. 3 (January 2007): 25–33. http://dx.doi.org/10.3200/aepr.108.3.25-34.

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Drury, Martin. "Community Arts: Defined but Denied." Irish Review (1986-), no. 11 (1991): 99. http://dx.doi.org/10.2307/29735623.

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Arnold, Alice. "Building Community through Arts Experiences." Art Education 47, no. 3 (May 1994): 47. http://dx.doi.org/10.2307/3193476.

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van Robbroeck, Lize. "The Ideology of Community Arts." de arte 27, no. 46 (September 1992): 49–57. http://dx.doi.org/10.1080/00043389.1992.11761150.

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Smith, Matt. "Puppetry as Community Arts Practice." Journal of Arts and Communities 1, no. 1 (March 1, 2009): 69–78. http://dx.doi.org/10.1386/jaac.1.1.69_1.

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Ottenberg, Simon, Herbert M. Cole, and Chike C. Aniakor. "Igbo Arts: Community and Cosmos." African Arts 18, no. 3 (May 1985): 17. http://dx.doi.org/10.2307/3336349.

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Dissertations / Theses on the topic "Community Arts"

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Hinshaw, Tessa. "Community arts and child wellbeing." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/12810/.

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There is growing evidence to suggest that group singing in the community can have positive outcomes for physical and psychological wellbeing. To date, research has focused on adult populations. This study aimed to add to existing understanding of the impact group singing can have on children’s psychological wellbeing. A mixed method study was carried out to investigate the impact of a community group singing project on the psychological wellbeing of school children in the London area. Self-rated measures of psychological wellbeing and identity as a singer were administered to 60 children aged 7-11 at three time points. A teacher-rated measure of psychological difficulties was also administered. Finally, a sample of children discussed their experience of the project in focus groups and music teacher interviews were carried out. Quantitative data did not confirm the hypothesis that choir member’s psychological wellbeing would increase following participation in the singing project. Identity as a singer scores were higher for females than males, and correlated with scores of psychological wellbeing. Qualitative data provided evidence for a range of beneficial outcomes for children. Research limitations: The small number of participants recruited for the non-choir control group is a significant limitation of quantitative methods in this study. Originality: Although group singing appears to be a positive experience for children who participate, findings suggest the impact may be more subtle for children with high levels of psychological wellbeing.
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Keller, Sarita Talusani. "Enacting Community Through the Arts." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc799525/.

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This study is concerned with the roles and relationships between artists-in-residence, community audiences, and program coordinators/art educators as they engage together in community arts programs. This study takes place at Project Row Houses (PRH), a community arts organization located in Houston, Texas and focuses on the artist-in-residence program, which commissions a group of national and international artists for a 6-month period to create art installations in relation to the community and its African-American heritage. This ethnographic case study is based on the activities and events surrounding the 2008 PRH exhibition, Round 29, Thunderbolt Special: The Great Electric Show and Dance, after Sam Lightnin’ Hopkins and employed qualitative data gathering methods of participant-observation, conducting semi-structured, open-ended, in-depth interviews, and through document collection, and contextual information. Observations were recorded through field notes, photographs, and video. Interviews were conducted with 3 artists-in-residence, 3 community audience members, and 3 program coordinators or staff members involved with the program, regarding their experiences at the site and experiences with each other. My analysis presents the roles of artist, community audience, and program coordinator/art educator through three sections on cultural work. Within these sections I discuss topics related to the power of voice, situatedness, and creativity, as it relates to the artists and community audiences. For the role of program coordinator/art educator, I focus more closely on her role in the process of mediation. Topics of power, social dynamics, identity, and representation are also framed within these discussions.
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Tse, Kam-wing, and 謝錦榮. "Extension of Ship Street: arts Community." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983662.

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Woodruff, Graham James Michael. "Community arts theatre : subversion or incorporation?" Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405025.

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Tse, Kam-wing. "Extension of Ship Street : arts Community /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25955184.

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Riley, Erin Katelynn. "ORIGINAL INTENT: ARTS BUILDING THE COMMUNITY." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192973.

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Chambers, Cynthia R. "Building an Inclusive Performance Arts Community." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3866.

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Chambers, Cynthia R. "POP Arts Enhances Skills, Creates Community." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/3849.

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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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Books on the topic "Community Arts"

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Service, Arts Council of England Library and Enquiry. Community arts: Bibliography. London: The Council, 1998.

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Community Theatre. London: Taylor & Francis Group Plc, 2004.

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Erven, Eugen van. Community Theatre. London: Taylor & Francis Inc, 2004.

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Kurz, Iwona. Lokalnie: Animacja kultury = Community arts. Warszawa: Instytut Kultury Polskiej Uniwersytet Warszawski, 2008.

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McDonald, Irene. Arts centres, education and community. London: Greater London Arts, 1987.

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Knight, Keith. Beginner's guide to community-based arts. Oakland, Calif: New Village Press, 2005.

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Brown, Roy I. Arts, the soul of the community. Calgary: Calgary Institute for the Humanities, University of Calgary, 1992.

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Kelly, Niamh. Community arts: Broadening our cultural education. Dublin: National College of Art and Design, 1998.

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Zuidervaart, Lambert, and Henry M. Luttikhuizen, eds. The Arts, Community and Cultural Democracy. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62374-7.

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Gillis, Candida. The community as classroom: Integrating school and community through language arts. Portsmouth, NH: Boynton/Cook Publishers, 1992.

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Book chapters on the topic "Community Arts"

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Trivic, Zdravko. "Arts and community." In Community Arts and Culture Initiatives in Singapore, 135–48. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003006473-6.

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English, Leona M., and Catherine J. Irving. "Arts and Adult Education." In Feminism in Community, 43–55. Rotterdam: SensePublishers, 2015. http://dx.doi.org/10.1007/978-94-6300-202-8_4.

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Haedicke, Susan C. "Community Performance: Community Performatives." In Contemporary Street Arts in Europe, 149–75. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137291837_7.

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Kuppers, Petra. "Community Arts and Practices." In Disability Culture and Community Performance, 70–87. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230316584_4.

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Hlavek, Elizabeth Hadara. "Arts Contributing to Community." In A Meaning-Based Approach to Art Therapy, 58–74. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003160885-6.

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Cooke, Pat. "The Community Arts Movement." In The Politics and Polemics of Culture in Ireland, 1800–2010, 327–40. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003099352-19.

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Tiller, Chrissie. "Participatory Arts and Community Development: Taking Part." In Community Research for Community Development, 133–49. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137034748_8.

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Sonn, Christopher C., Amy F. Quayle, and Paola Balla. "Community arts for critical community psychology praxis." In The Routledge International Handbook of Community Psychology, 212–26. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429325663-17.

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Sung, HeeKyung. "Arts and Community Well-Being." In Community Quality-of-Life and Well-Being, 185–202. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15115-7_10.

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Shaw, Mae, and Rosie Meade. "Community Development and the Arts." In Learning with Adults, 195–204. Rotterdam: SensePublishers, 2013. http://dx.doi.org/10.1007/978-94-6209-335-5_15.

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Conference papers on the topic "Community Arts"

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Giertlova, Zuzana. "SEARCHING OF COMMUNITY IN URBAN TERRITORY. IN THE EXAMPLE OF GROWING CROPS IN COMMUNITY GARDENS." In Arts & Humanities Conference, Venice. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/ahc.2016.001.005.

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Masunah, Juju, Trianti Nugraheni, and Yudi Sukamayadi. "Building Performing Arts Community through Bandung Isola Performing Arts Festival (BIPAF) in Indonesia." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.39.

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Lin, Shuhua. "Arts Education through Coordination with Community and Museum." In 2013 International Conference on Advanced Information Engineering and Education Science (ICAIEES 2013). Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/icaiees-13.2013.33.

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Trickett, Terry. "A Cybernetic Clarion Call to the Arts’ Community." In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.69.

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Beazley, Ingrid, Jonathan P. Bowen, Alison H. Y. Liu, and Sarah McDaid. "Dulwich OnView: an art museum-based virtual community generated by the local community." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.14.

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"The Status Quo of Community Social Organizations Participating in Community Governance." In 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.156.

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Barata, Ana, Paula Escudeiro, Valérie Duarte, and Jadir Lino. "INCLUSION THROUGH DIGITAL ARTS: CREATING A COMMUNITY OF PRACTICE." In International Conference ICT, Society, and Human Beings 2019. IADIS Press, 2019. http://dx.doi.org/10.33965/ict2019_201908l018.

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Rhoden, William. "Communities and the Arts: A Discussion of the Effects of Community Support on Arts Education." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1573101.

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Iacobut, Daniel. "COMMUNION AND COMMUNITY IN THE THEOLOGICAL THINKING OF ODO CASEL." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s8.005.

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Vigil, Rosario Carril. "The Digital Art Community in Spain." In ARTECH2017: Eighth International Conference on Digital Arts. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3106548.3106615.

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Reports on the topic "Community Arts"

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Varian, Kelly Varian, and Marc Vogl Vogl. Pandemic Relief & Recovery: Emergency Funding & The Bay Area Arts Community. Vogl Consulting, October 2021. http://dx.doi.org/10.15868/socialsector.38938.

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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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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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Campbell, Jordan. Throwing Out the Playbook: Insights from the 2021 ABLE Conversation. Creative Generation, March 2022. http://dx.doi.org/10.51163/creative-gen011.

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On Saturday, November 20, 2021, the Berklee Institute for Arts Education and Special Needs (BIAESN) hosted the first ABLE Conversation: Anti-Ableism, Representation, and Accessibility in Arts Education symposium. The event included keynote remarks from Rebecca Cokley and Gaelynn Lea, as well as discussions with attendees. Insights are shared from the event, focused on solidarity work; preparation, access, and opportunity; and the joy of disability culture. It concluded with a strong call to action for the arts education community to be revolutionary and throw out the playbook.
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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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Karon, Julia, Daniel Rossman, Elaine Vilorio, and Rayane Alamuddin. Playbook for Transfer Pathways to the Liberal Arts: How to Design and Implement Statewide Pathways from Community Colleges to Independent Colleges. Ithaka S+R, March 2022. http://dx.doi.org/10.18665/sr.316551.

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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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9

Nolan, Parker Stephen. Network Theory: How Can Its Application Cultivate the Conditions to Support Young Creatives? Creative Generation, October 2021. http://dx.doi.org/10.51163/creative-gen004.

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As observers to the intersectional fields of culture, education, and social change, Creative Generation witnessed the chosen organizational structure of “networks” come into vogue – particularly as smaller, community-based organizations have begun to participate in larger-scale, collaborative initiatives. In almost all examples, the individuals and organizations involved do their collaborative work through a “network,” using any number of connections and patterns. This qualitative inquiry sought to understand how applying Network Theory to organizational structures can cultivate the conditions to support young creatives. Through literature and conducting interviews with leaders of diverse networks in the arts and cultural education fields, this project provides an overview of Network Theory and examines examples of various models. This report proposes the following set of provocations for the field to interrogate the use of Network Theory in their projects’ implementation: strong connections between the network and its participants, shared power among network leadership and participants, clear expectations about funding, and specific role for young creatives in decision-making.
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10

Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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