Relevant bibliographies by topics / Creative Arts

Academic literature on the topic 'Creative Arts'

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Published: 4 June 2021
Last updated: 21 February 2023

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Journal articles on the topic "Creative Arts"

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Iovino, Serenella. "Editorial: Creative Writing and Arts // Editorial: Escritura creativa y arte." Ecozon@: European Journal of Literature, Culture and Environment 7, no. 1 (June 15, 2016): 197–200. http://dx.doi.org/10.37536/ecozona.2016.7.1.989.

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

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

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

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

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

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

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Daniel, Jamie Levine, and Mirae Kim. "Creative Placemaking: Creating Change by Building Partnerships." Journal of Public and Nonprofit Affairs 6, no. 1 (April 1, 2020): 96. http://dx.doi.org/10.20899/jpna.6.1.96-110.

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Arts, artists, and creative strategies can be critical vehicles for achieving social, economic, and community goals. Creative placemaking is one type of arts-led planning that incorporates the goals of communities with stakeholder participation. Questions exist, however, around who participates in the creative placemaking process and to what end. This study explores a case where a state-sponsored workshop brought together people from diverse backgrounds to facilitate community development and engagement through creative placemaking. The study highlights how a one-shot intervention can reshape perceptions of creative placemaking that are held by planners, nonplanners, artists, and nonartists. The study shows that while pre-workshop participants focused on identifying resource-based challenges, post-workshop participants focused more on initiating collaborations and being responsive to community needs. The different attitudes before and after the state-sponsored workshop demonstrate the importance of not only building stakeholder understanding but also facilitating stakeholder engagement for successful creative placemaking.
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Felton, Emma, Krystle Vichie, and Eloise Moore. "Widening participation creatively: creative arts education for social inclusion." Higher Education Research & Development 35, no. 3 (November 20, 2015): 447–60. http://dx.doi.org/10.1080/07294360.2015.1107881.

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Ruastiti, Ni Made. "Tourist Performing Arts: Balinese Arts-Based Creative Industry." Mudra Jurnal Seni Budaya 25, no. 3 (September 30, 2010): 293–301. http://dx.doi.org/10.31091/mudra.v25i3.1567.

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Creative industry is part of creative economy, which is the implementation of the attempts made to create sustainable development through creativity. Sustainable development refers to a competitive economic climate with renewable resources. Creative economy refers to the fourth stage evolution after agricultural economy, industrial economy and informational economy. As far as the performing arts performed for tourism are concerned, arts seem to develop sustainably. The performing arts such as Cak, Barong and Legong performed for tourism by the Balinese community is the implementation of the local people’s creative industry in developing their artistic life sustainably. They are packaged as the local traditional performing arts.
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Dissertations / Theses on the topic "Creative Arts"

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Ely, Robert. "Creating a creative university." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/621.

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The research focuses on an auto-ethnographic case study of the creation of a new university specialising in creativity in Singapore between 2003 and 2005. The author is the President and CEO of that institution and the Vice Chancellor designate of the University of the Arts Singapore (UARTS@). Through the personal application of knowledge and documentary research, the context for the study is explored, together with the conceptual framework within which it will operate. Some of the social, economic and political issues are described, as they relate to the Singapore Education System, drawing direct comparison with the two systems from which that system originated: the United Kingdom and to some degree, Australia. The case study is centred on the evolution of a private institution, but one that is in receipt of public funding, operating directly under the supervision of the Ministry of Education in Singapore. During the period of the study, the institution transits from a polytechnic towards a full university status and the study observes the extent to which the development impacts on the Singapore Higher Education System and how it responds to two major Singapore government objectives: • The Global Schoolhouse Initiative • The Creative Industries Development The case study illustrates a number of specific challenges facing many existing universities as they attempt to reposition themselves in response to mission convergence.
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Verseput, Lisa. "The creative conservatory : a community media & creative arts centre." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60215.

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

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

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My final creative project explores research about what makes a successful community theater and tracks development leading a theater troupe in my hometown of Great Falls, Montana. In my lifetime, three theaters began, thrived and perished in Great Falls. The Green Room, Center Stage and Summer Musicale started as little more than groups of friends who loved theater putting up a show. All three experienced success for several years. However, all three eventually crumbled. Before I built my own troupe, I needed to spend some time planning and learning how to avoid what my predecessors failed to do. I examined my involvement and experiences with these three companies. My reflection, discussions with other theater members, and investigation revealed that lack of experience, inadequate financial understanding and low standards of quality contributed to each of their demises. Following reflection on these companies, I gained insight into what makes a successful theater by interviewing community members who are familiar with theater organizations and the community of Great Falls. With their input and my own reflections I then researched what the experts had to say on the subject. These experts either started their own now prospering companies or they consult with theater companies on how to make an organization better. Equipped with the knowledge from all of these resources, I formulated my own plan to produce quality theater in Great Falls I established the beginnings of a theater organization to produce creative work.
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Hood, Emily Jean. "Creative Matter: Exploring the Co-Creative Nature of Things." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404623/.

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This dissertation is about new materialism as it relates to art education. It is a speculative inquiry that seeks to illuminate the interconnectivity of things by considering the ways in which things participate in generative practices of perceiving and making. To do so, the dissertation pioneers an arts-based methodology that allows for broad considerations about who and what can be considered an agent in the process of art making. In this inquiry, the researcher is an artist-participant with other more-than-human and human participants to construct an (im)material autohistoria-teoría, a revisionist interdisciplinary artwork inspired by the work of Anzaldúa. The term w/e is developed and discussed as new language for expanding upon Braidotti's posthumanist subjectivity. New theories called thing(k)ing (including found poetry) and (im)materiality are discussed as movements towards better understanding the contributions of the more-than-human in artmaking practices.
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Blatter, John Henry. "Creative Insubordination." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1825.

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In today’s lexicon a ‘Daily Constitutional’ usually refers to a daily walk. But in actuality, a ‘Daily Constitutional’ is something that one does on a daily basis that is beneficial to one’s constitution or healthful(1); and one’s constitution being the aggregate of a person’s physical and psychological characteristics(2). With this definition, the daily constitutional refers to any daily activity that improves a person’s physical or mental health. At various stages in my life I may have understood my constitutional to be any number of things and it was not until I came into my own did I truly discover my Daily Constitutional, the creative process. In the following thesis I will be covering my thoughts and opinions on the creative process as well as my role of Artist in a larger art community. The thesis consists of six chapters, each being a letter I wrote for Daily Constitutional, A Publication for the Artist’s Voice as the Editor-in-Chief. I created the Daily Constitutional in 2005 in order to provide my contemporary colleagues with an opportunity to once again have a voice in the art world. The publication is entirely submission based with an international open call. Each semi-annual issue is created out of the submissions received and composed by a rotating panel of six artists and has been ongoing throughout my tenure at Virginia Commonwealth University. The mission of the publication is to provide an outlet and forum for the individual Artist’s voice, rather than the cacophony that is the art world at large (galleries, critics, curators, museums, patrons and finally the artists themselves). To provide a place to express, exchange and discuss, without interpretation, the artist’s opinions, ideas and discoveries within one’s practice. This publication can only be made possible, through a collaboration of individual Artists.(3) This document was created with Adobe InDesign CS2. 1. “constitutional.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 2. “constitution.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 3. “Mission Statement,” Daily Constitutional, A Publication for the Artist’s Voice, 2005-09, http://www.dailyconstitutional.org/mission_statement.html
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Chang, Woong Jo. "Small Arts Organizations: Supporting their Creative Vitality." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316377062.

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Davison, Christopher. "The visualization of the creative experience." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/268.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Art
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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 "Creative Arts"

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

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

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

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Steele, Barbara. Creating creative curriculum: Focus, the language arts. Aberdeen, NC: Future Problem Solving Program, 1990.

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

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

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

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Creating the creative: A university of the arts. Singapore: LaSalle-SIA College of the Arts, 2006.

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

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

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Book chapters on the topic "Creative Arts"

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

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

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

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

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

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

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Gusmano, Beatrice. "Confronting Monomaternalism in Italy: Non-heterosexual Mothers Accessing ARTs." In Creative Families, 43–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70803-0_3.

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Gladding, Samuel T. "Visual Arts and Counseling." In The Creative Arts in Counseling, 79–106. Alexandria, VA, USA: American Counseling Association, 2015. http://dx.doi.org/10.1002/9781119221630.ch5.

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Young, Gregory. "Creative Interdisciplinarity in the Arts." In Exploring, Experiencing, and Envisioning Integration in US Arts Education, 15–26. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71051-8_2.

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Everett, Lynn, Genevieve Noone, Margaret Brooks, and Ros Littledyke. "Sustainability and the Creative Arts." In Educating for Sustainability in Primary Schools, 221–45. Rotterdam: SensePublishers, 2015. http://dx.doi.org/10.1007/978-94-6300-046-8_11.

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Conference papers on the topic "Creative Arts"

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

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

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Feldman, Sara (Salevati). "Co-Creation: Human and AI Collaboration in Creative Expression." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.84.

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Zaim, M., Refnaldi, Yofita Sandra, and Rifqi Aulia Zaim. "Creating Waste Coconut Coir as A Creative Art." In Ninth International Conference on Language and Arts (ICLA 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210325.066.

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

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Sriyanti, Mas Galih, and Juju Masunah. "The Creative Process of Creating Ringkang Haleuang Barudak Dance." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.014.

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

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Ji, Zujiang, and Yuanling Chen. "When and How Does Collections of Creatives Lead to Creative Collectives." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.119.

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

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

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Reports on the topic "Creative Arts"

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

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

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Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, diverse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators
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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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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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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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Ryan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham, and Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Busselton. Queensland University of Technology, January 2021. http://dx.doi.org/10.5204/rep.eprints.207597.

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Located a two-and-a-half hour drive south of Perth, Busselton is one of the largest and fastest growing regional centres in WA, a lifestyle services hub and the gateway to the internationally renowned wine region and popular tourist destination of Margaret River. Promoted by the City of Busselton council as the ‘Events Capital of WA’, Busselton has a strong festival and events economy that fuels local creative and arts production, supported by demographic shifts and population growth that is resulting in more creatives living and working in the city.
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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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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.

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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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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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You might also be interested in the extended bibliographies on the topic 'Creative Arts' for particular source types:
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