Готові списки джерел за темами / Arts and cultural policy

Добірка наукової літератури з теми "Arts and cultural policy"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 13 вересня 2024

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Статті в журналах з теми "Arts and cultural policy"

1

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

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2

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

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3

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

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4

Shchukina, Tatiana. "New Directions for Canadian Cultural Policy." Russia and America in the 21st Century, no. 6 (2023): 0. http://dx.doi.org/10.18254/s207054760029621-0.

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Over the last two years of the pandemic, the arts, culture and heritage sectors have experienced unique challenges. These sectors have been amongst those hit hardest and longest by the COVID-19 pandemic. This has not only affected their economic viability but also their relationship with the public, whose interests, expectations, access and behaviours have shifted dramatically over the last two years. The pandemic accelerated a shift already underway in Canadian society. Polarization, disinformation, an unequal set of rules for the foreign online broadcasters and social media companies challenge social cohesion in Canada. This reality, combined with growing awareness of systemic racism and a greater acceptance of the need to confront the climate crisis have created a need to reimagine policies, principles, and practices to ensure continued long-term, sustainable growth, competitiveness, and vitality of the arts, culture, and heritage sectors in Canada. Canada’s arts, culture and heritage sectors play a fundamental role in building a stronger, more cohesive and resilient society. These sectors are not only significant economic drivers but they also contribute to Canada’s identity and social fabric. They help Canadians create meaning and forge a stronger shared identity based on shared values. However, to achieve these beneficial effects, there needs to be a renewed and shared understanding of these sectors’ fundamental roles and value. The Government of Canada convened the National Culture Summit: The Future of Arts, Culture and Heritage in Canada to help these sectors recover and thrive as well as mobilized these sectors around positive economic and social outcomes for Canada and discussed ways to support their own recovery and long-term growth and competitiveness. The Summit brought together leaders from across the country from these sectors for a national conversation on resilience, sustainability and transformation of the arts, culture and heritage sectors in Canada. The summit’s four themes were: •Promoting long-term competitiveness and growth; •The return of visitors and engaging new audiences; •The role of digital platforms in arts, culture and heritage sectors; and •The contribution of cultural sectors to reconciliation, combatting climate change and building an open and more inclusive society.
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5

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

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6

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

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In furthering its foreign policy, Canada, as other countries, uses its reputation, advantage and assets to enhance its national interest, and to strengthen its state-to-state, regional and international relations. Comprising a range of instruments, a country's culture and arts stand out as having the unique potential to enrich its foreign policy. Culture and arts have long played a role in Canada's international relations. Government of Canada should develop and implement a comprehensive cultural diplomacy strategy that establish its objectives within the context of Canada's foreign policy, articulate roles and responsibilities, and identify the budgetary resources necessary for the strategy's realization.
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7

Lee, Kyung-Jin. "British Cultural Policy and Strategy: Arts Council’s projects." K-Culture·Story Contents Reasearch Institute 2 (January 31, 2023): 117–30. http://dx.doi.org/10.56659/kcsc.2023.1.117.

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This paper aims to examine the vision and projects of the British Arts Council, presenting a comparison with – and subsequent analysis of – project development in Korea. This paper begins by defining the direction of British culture and art by analysing the ‘Arm’s length principle’, which is a fundamental policy element in British culture and art. Following this, our gaze shifts to consider the British Art Council’s future strategy, the projects it plans to undertake, and the goals it hopes to achieve. In particular, we examine the British Art Council’s aim to inform the public on several topics and plan events that include various genres of music, visual arts, folklore and archaeology, as well as its approach to revitalizing a region of England using the works of local artists in the example of the 2022 Commonwealth Games Culture Festival held in Birmingham. In the third chapter, we discuss the Bristol Regional Project and the Greenwich Library Project in depth, explaining the British Arts Council’s approach to collaborating with the fields of education, history, literature and archaeology, art experts (including curators, creative directors, planners, professors, and so on), and public institutions to successfully develop and complete projects. By analysing the cases of the Bristol Regional Project and Greenwich Library Project, we aim to determine whether these projects are consistent with the vision and future strategy set by the British Arts Council, as well as how these projects have developed and altered British society and the art world more broadly. In addition to local projects, the British Arts Council intends to work abroad to discover new artists and to promote British art through them to facilitate its growth, which will also be a point of discussion in Chapter 3. The final chapter will examine projects conducted by the Seoul Cultural Foundation during the COVID-19 period. Making a comparison to the UK’s regional culture and arts policies and programs, the limitations of the Korean domestic art landscape are discussed and areas that need to be re-established are identified.
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8

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

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This article considers the may the Labour Party, since its election in May 1997, has promoted ideas about the value of the creative economy to Britain's industrial future. It argues that the Party's approach to the creative economy has more in common with new business and management theories, rather than being a fully worked-out approach to cultural policy. There is now a disjunctive between the recognition of the creative economy and the continued existence of traditional arts policy-making institutions. New government initiatives around the idea of re-branding Britain and promoting Britain's creative economies through the public spectacle and millennium celebrations have opened up this incipient gap between traditional arts policies and new thinking about the creative economy. The article notes that much of the pioneering work developing the idea of cultural industries was carried out more than a decade ago by city councils in Britain, which sought to sustain their small cultural businesses with limited programs of investment and business support. At the time, this work was largely ignored by traditional arts policy bodies. The paper concludes by speculating about whether the Labour Party can turn its rhetoric about the creative economy into a more substantive policy which brings together the mixed economy of public and private in the cultural sector.
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Stevenson, David. "Scottish cultural policy." Cultural Trends 23, no. 3 (June 11, 2014): 133–35. http://dx.doi.org/10.1080/09548963.2014.925277.

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

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Дисертації з теми "Arts and cultural policy"

1

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

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The Thesisd rawso n the argumentst,h emesa nd issuest hat haveb eend evelopedth rough a number of publications concerning the politics of arts and cultural policy. The Thesis contains a development of the commodification thesis and the policy attachmenat rgument Thesen ew approachetso the analysiso f public policy haveb een specifically applied to arts and cultural policy. The major focus of this application has beeno n Britain over the last 50 years,a nd has incorporatedn ational,r egionala nd local levelso f analysis.I n additiond evelopmentisn Europeh aveb eenc onsidered. A major theme concerns the necessity for methodological pragmatism in undertaking research within these policy areas. Such an approach allows for the development of appropriate analytical tools for complex policy systems. The validity and utility of the commodificationth esisa ndp olicy attachmenat rgumenat s tools for policy analysis are discussed. December 2003
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2

Groves, Leroy. "The politics of cultural policy." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3504/.

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Over the past twenty years the arts and culture have become a popular vehicle through which local economic development can be pursued. Whilst this relatively new local economic development tool has generated much interest amongst academics, many have been content to simply provide descriptive accounts of its development. Where theoretical frameworks for analysis have been applied, they have failed to adequately examine and assess those local factors which have contributed to the development of these strategies. Interestingly, the evolution of arts policy as a vehicle through which to pursue economic development, has been mirrored by proliferation In coalitions as preferred vehicles through which governing decisions, at the local level are effected. Current debates surrounding the New Urban Politics have focused on the degree to which current modes of governance reflect: widened representation; increased community empowerment; and increased local autonomy. By employing regime theory as a framework for analysis, this thesis will examine how those local political factors in two cities have influenced the development of cultural strategy. Such an exercise will enable a comment to be made on the degree to which cultural strategies reflect more co - operative forms of decision making, increased access to new forms of expertise and community empowerment.
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3

Fazlioglu, Akin Zulal. "Cultural Policy in Turkey – European Union Relations." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502860978590657.

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4

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

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

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This thesis examines the implementation of cultural diplomacy through the perspective of cultural policy in Taiwan (Republic of China). It elaborates how the policy-making and practice have progressed in response to the changes of Taiwan’s domestic cultural politics and foreign affairs, including its relations with China (People’s Republic of China). As an empirical study, the research focuses on Taiwan’s cultural policy in the timeframe of 1990-2014 and more specifically on the promotion of the performing arts. The research identifies three crucial elements of Taiwan’s cultural diplomacy. It complements traditional diplomacy, acts as an outlet in the process of cultural identity formation, and showcases cultural and creative industries. Each element is prioritised at different phases of policy practice. However, a long-term and continuous strategy is absent. The research reveals that Taiwan’s cultural diplomacy emphasises more on its self-presentation than creating mutuality. The unsettled issues of cultural identity have its profound influence on cultural diplomacy. Meanwhile, the projection of soft power is not necessarily reinforced by the market-driven policy orientation and the quantifiable policy objectives. The research also illustrates the interaction among the government, artists, and other actors from the private sector. The key finding indicates that the government is constrained by bureaucracy and its own contested political status. Civil society at the individual level participates in cultural diplomacy with a sense of enthusiasm, while corporations in general are less motivated. The research provides empirical evidence on communicating soft power through cultural diplomacy without much hard power. In this case, the promotion of soft power is limited and does not necessarily compensate for the deficiency of hard power.
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6

Woddis, Jane. "Spear-carriers or speaking parts? : arts practitioners in the cultural policy process." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/2591/.

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This thesis investigates the role of arts practitioners in cultural policy activity, both as a general concern for cultural policy studies and in the specific arena of post-war cultural policy in Britain. In so doing it challenges a common perception that arts practitioners have no such involvement, and seeks to discover the extent and form of their activity. it explores the history of practitioners’ participation in cultural policy formation and implementation; what obstacles they have faced and how their involvement could be better facilitated; and, importantly, why it matters whether they are involved. These issues have remained largely unrecognised among cultural policy researchers. Part II of the thesis examines the subject through a case study of new playwriting policy in England. Drawing on unpublished primary documents, interviews, and observation, it pays particular attention to playwrights’ organisations and their history of self-directed activity. These organisations and other agencies concerned with theatre writing are embedded in networks which cross the boundaries of policy and creative practice. The thesis argues that arts practitioners can enhance their place in the policy process through their own actions, and that participation in these networks increases their opportunity for policy input and influence. Of key importance is the question as to why the involvement of practitioners in cultural policy activity is of any significance. The thesis puts forward the view that arts practitioners and their organisations can be seen as part of the fabric of civil society, and their participation in policy activity as contributing to the maintenance and enlargement of democratic life. It is, then, not a marginal issue, nor of concern to the arts alone, but integral to a wider debate about sustaining democratic engagement and the civic arena in the twenty-first century.
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7

Lee, Da Hyun. "Relational Approaches to US International Cultural Engagement: Promoting National Good and Mutual Understanding through Cooperative Cultural Exchange." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1385737907.

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8

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

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9

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

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10

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

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Книги з теми "Arts and cultural policy"

1

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

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2

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

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3

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

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4

Jennifer, Craik, and Australian Key Centre for Cultural and Media Policy., eds. Cultural policy case studies. Griffith, QLD: Australian Key Centre for Cultural and Media Policy, 1997.

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5

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

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6

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

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7

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

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8

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

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9

B, Morris Valerie, and Pankratz David B, eds. The arts in a new millennium: Research and the arts sector. Westport, Conn: Praeger, 2003.

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10

1933-, Ziedonis Imants, Treile Jolanta, and Latvia Kultūras ministrija, eds. Main cultural policy postulates of Latvia. Riga: Ministry of Culture, Republic of Latvia, 1996.

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Частини книг з теми "Arts and cultural policy"

1

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

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2

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

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3

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

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

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

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

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

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

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Rushton, Michael. "Liberalism, Neutrality, and the Arts." In New Directions in Cultural Policy Research, 41–66. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-35106-8_3.

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Imbesi, Jason, Matt Carruthers, and Antonio C. Cuyler. "Cultural Policy of the Oppressed: An Analysis of Colonialism, Expansionism, and Imperialism in Cultural Policy Scholarship." In Sociology of the Arts, 17–36. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-59231-7_2.

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Тези доповідей конференцій з теми "Arts and cultural policy"

1

Boonchoo, Setthee. "Digital Arts: An Innovation for Intangible Cultural Heritage." In 2024 5th Technology Innovation Management and Engineering Science International Conference (TIMES-iCON), 1–4. IEEE, 2024. http://dx.doi.org/10.1109/times-icon61890.2024.10630742.

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

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

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

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

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

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

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

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Mansour, Amr. "Cultural Diplomacy in UAE Foreign Policy Towards China –Sheikh Zayed Center as a Model." In The Barcelona Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2435-9475.2023.14.

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

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Звіти організацій з теми "Arts and cultural policy"

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Smith, Adam, Madison Story, August Fuelberth, and Megan Tooker. Historic landscape inventory for Zachary Taylor National Cemetery, Louisville, KY. Engineer Research and Development Center (U.S.), July 2024. http://dx.doi.org/10.21079/11681/48753.

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This project was undertaken to provide the US Department of Veterans Affairs, National Cemetery Administration, with a cultural landscape inventory of Zachary Taylor National Cemetery via funding from the St Louis Mandatory Center of Expertise (MCX) for the Curation and Management of Archaeological Collections (CMAC). The 16-acre cemetery, listed on the National Register of Historic Places in 1983, is found in Louisville, Kentucky, and contains more than 11,400 burials. The US Army Engineer Research and Development Center-Construction Engineering Research Laboratory (ERDC-CERL) was tasked with inventorying and assessing the cultural landscape at Zachary Taylor National Cemetery through the creation of a landscape development context, a description of current conditions, and an analysis of changes to the cultural landscape over time. All landscape features were included in the survey as federal policy on national cemeteries requires that all national cemetery landscape features be considered contributing elements, regardless of age. The historic landscape elements of the cemetery, like the original over-arching Beaux-Arts plan and circulation, cannot be restored due to the current number of burials. However, some elements can be reemphasized by historic landscape management planning, such as the restoration of the portions of the allée of pin oak (Quercus palustris) trees.
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Fedorchuk, Liudmyla. Культура в ефірі Суспільного: телевізійний контент і перспективи розвитку. Ivan Franko National University of Lviv, березень 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11729.

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Main objectives of this article are changes in the programming principles of the “Suspilne Culture” TV channel, the peculiarities of the program content in the period 2020-2022, as well as potential for further channel development from the content perspective. Methodology of the analysis includes processing primary sources of information, synthesis, induction and deduction, problem-thematic analysis of television programs. Results. During 2017-2021, the specialized public channel about culture increased the number of its own programs, and the ratings of the channel increased. “UA: Culture” produced their own daily information program and several analytical programs about various types of art. Although even now, a significant part of the channel content consists of not relevant and not adapted for the Ukrainian audience purchased serials and educational cycles. After analyzing “Suspilne Culture” TV channel program grid for October 3-7, 2022, significant part of not typical for declared program policy content was discovered. During the present period only 2 programs corresponded to the specifics of the channel and were developed by “Suspilne” production. Conclusions. In general, thematic blocks such as cultural policy of Ukraine and institutions, religious practices, economy of creative industries and representation of Ukrainian culture in the world are not broadcasted. Significance. The conducted research allowed us to actualize the need for a scientific approach to the content and programming policy of the “Suspilne Culture” TV channel. The collected material gives reasons to testify that the mission of the public channel and the declared program principles are implemented only partially. The channel lacks in-depth analytics on a whole range of current cultural issues. The share of self-produced programs is minimal. Instead, purchased content often does not represent the specifics of the channel and does not fulfill the mission of the public broadcaster. The channel program managers should focus on the change in cultural discourse that has been taking place since the beginning of the full-scale war of the Russian Federation against Ukraine. In battles, our army and people defend, first of all, our right to own identity, our right on culture and own voice to tell the world about ourselves. The air of the TV channel “Suspilne Culture” should be filled with exactly such ideas. Keywords: culture; public television; television content; journalism of the culture.
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Ostrower, Francie. Cultural Collaborations: Building Partnerships for Arts Participation. Urban Institute, January 2003. http://dx.doi.org/10.59656/a-ad8668.001.

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Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, November 2023. http://dx.doi.org/10.23889/sureport.65084.

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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts are for and highlighted that young people did not always understand what they were watching. The project discussed here builds on this previous work, as it sought to further understand the composition of audiences attending Cambodian performance events, examine their reactions, and consider how using simple forms of technology may promote audience engagement and understanding. The research used Cambodian Living Arts’ (CLA) 2022 Cultural Season of performances, workshops, and talks as a case study through which to experiment with this and other methodologies. The Cultural Season (titled Action Today: Consequences Tomorrow) was held in Phnom Penh and then toured across Cambodia, also giving the research the unique opportunity to find out more about arts audiences in the provinces. The findings provide insights into the level of knowledge and understanding of the arts among different audiences across Cambodia, their preferences in terms of types of arts consumed, and the choices surrounding their participation and involvement in the arts.
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Smyth, Emer. Arts and cultural participation among 17-year-olds. ESRI, November 2020. http://dx.doi.org/10.26504/rs103.

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Walker, Chris, Corey Fleming, and Kay Sherwood. Arts Participation: Steps to Stronger Cultural and Community Life. Urban Institute, August 2003. http://dx.doi.org/10.59656/a-ad6759.001.

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8

Ostrower, Francie. The Diversity of Cultural Participation: Findings from a National Survey. Urban Institute, November 2005. http://dx.doi.org/10.59656/a-ad3542.001.

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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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Voss, Zannie, and Glenn Voss. The Alchemy of High-Performing Arts Organizations. SMU DataArts, August 2020. http://dx.doi.org/10.59656/a-g4329.001.

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