Статті в журналах: "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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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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9

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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10

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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11

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

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12

Medeiros Barbosa, Luiz Gustavo, Saulo Barroso Rocha, and Ique Lavatori Barbosa Guimarães. "The economic impact of Brazil’s cultural incentive policy." Revista Pensamento Contemporâneo em Administração 16, no. 1 (May 2, 2022): 1–14. http://dx.doi.org/10.12712/rpca.v16i1.52479.

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This study seeks to measure the economic impact of Brazil’s Cultural Incentive Policy. This study uses the input-output matrix methodology for the incentives offered for projects in 2017, which is the most recent data available. A total of 1,258,740 records were extracted for this analysis. The following cultural sectors’ production chains were analyzed: scenic arts, visual arts, audiovisual arts, the humanities, music, and cultural heritage. As a result, a total economic impact of 198 million dollars was recorded for projects in 2017. The results indicate how this investment fosters cultural entrepreneurship and its supply chains.

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13

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

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14

Li, Xuefei, Margaret Wyszomirski, and Biyun Zhu. "Definitions Matter: Dynamic Policy Framing of the Arts in Boston’s Sustainable Cultural Development." Sustainability 13, no. 24 (December 10, 2021): 13661. http://dx.doi.org/10.3390/su132413661.

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Cultural sustainability has become a fourth pillar in sustainable development studies. Different from the research approach to embedding culture into conventional sustainable discourse, this article argues that the sustainability and resilience issues within the arts and cultural sector should be paid more attention to. Putting the arts and cultural sector in urban settings, sustainable cultural development entails dynamic policy framing and changing policy justifications in response to an evolving socioeconomic and political environment. Taking the policy framing of the arts as an analytical lens, this paper aims to investigate this dynamic change and key driving factors through an in-depth case study of Boston’s urban cultural development. This article finds that different definitions of the arts are associated with different arts-based urban development strategies across four stages of cultural development in Boston spanning a period of over 75 years. The working definition moved from art to the arts, then to the creative arts industry, and eventually to cultural assets and creative capital. The policy framing of the arts keeps evolving and layering in pursuit of more legitimacy and resources regarding groups of stakeholders, field industry components, types of industrial structure, and multiple policy goals. This dynamic policy framing has been driven by arts advocacy groups, policy learning process, urban leadership change, and cultural institutional change, allowing Boston to draw on a growing and diversifying set of cultural resources in pursuit of sustainable cultural development.

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15

Smith, Bonnie B. "Treatment of Dementia Through Cultural Arts." Care Management Journals 11, no. 1 (March 2010): 42–47. http://dx.doi.org/10.1891/1521-0987.11.1.42.

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16

Fletcher, Richard. "Public libraries, arts and cultural policy in the UK." Library Management 40, no. 8/9 (November 11, 2019): 570–82. http://dx.doi.org/10.1108/lm-04-2019-0022.

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Purpose Public libraries in the UK are increasingly expected to provide arts activities and events as part of their usual operations. The purpose of this paper is to summarise recent policy trends in this direction from both the perspective of libraries’ and the arts sector. A touring theatre project aimed at children and families is discussed in further detail to examine some of the outcomes of these policies. Design/methodology/approach The paper will present a brief history of policy developments and debate in this area. Mixed method findings from the research element of “Among Ideal Friends” will be discussed, having used surveys and interviews with audiences and librarians, geodemographic profiling, box office records and library card data. Findings Public funding across both libraries and the arts has decreased at a national and local level, though both sectors are encouraged to work together to share expertise and community knowledge. Research limitations/implications The primary funding for the project was an arts funding body. While a holistic approach to evaluation was taken, this limited any specific focus that might have been given to educational outcomes or cost-benefit analysis compared to other interventions. Practical implications Public libraries can see the results and challenges of a successful regional touring theatre project for consideration in their own activity planning, especially those related to families and younger users. Social implications Libraries and Arts organisations have different priorities in regards to these areas. Though co-operative, the situation is not without tension. The topic is illustrative of some wider debates around cultural value, everyday participation and cultural democracy. Originality/value This paper offers a timely discussion of cultural policy in relation to libraries, e.g. The Society of Chief Librarians “Universal Cultural Offer” (October 2017).

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17

TROTTER, R. "Cultural Policy." Year's Work in Critical and Cultural Theory 5, no. 1 (January 1, 1995): 256–73. http://dx.doi.org/10.1093/ywcct/5.1.256.

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TROTTER, R. "Cultural Policy." Year's Work in Critical and Cultural Theory 7, no. 1 (January 1, 1997): 238–64. http://dx.doi.org/10.1093/ywcct/7.1.238.

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TROTTER, R. "Cultural Policy." Year's Work in Critical and Cultural Theory 8, no. 1 (January 1, 2001): 155–71. http://dx.doi.org/10.1093/ywcct/8.1.155.

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20

Glover, Stuart. "Revisiting the Cultural Policy Moment: Queensland Cultural Policy from Goss to Bligh." Queensland Review 18, no. 2 (2011): 190–206. http://dx.doi.org/10.1375/qr.18.2.190.

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An account of cultural policy-making in Queensland since the election of the Goss Labor government in 1989 requires revisiting the rise and fall of what Stevenson (2000) has called the ‘cultural policy moment’ in Australia.This period, from the early 1990s to the early 2000s, was characterised by political and scholarly interest in the civic and symbolic utility of culture, and in the outcomes achieved through its management. The cultural policy moment was produced simultaneously within government, the cultural sector and the academy. Within government, it was characterised by a new and highly visible interest in managing culture and (through it) the citizenry (O'Regan 2002). Within the academy, the cultural policy project was raised by Tim Rowse in Arguing the Arts (1985) and developed by the Institute for Cultural Policy Studies at Griffith University through the work of Ian Hunter, Tony Bennett, Toby Miller, Colin Mercer, Jenny Craik, Tom O'Regan and Gay Hawkins in the late 1980s and early 1990s. Stuart Cunningham's Framing Culture (1992) focused existing debate within Australian cultural studies over the place of policy-based approaches within the discipline.

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21

Kim, HwiJung. "Reorienting Cultural Policy: Arts Industries’ Approach in South Korea." Journal of Arts Management, Law, and Society 51, no. 3 (March 22, 2021): 155–70. http://dx.doi.org/10.1080/10632921.2021.1900006.

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22

Jung, Yeon-Hee. "Revisiting the Legitimacy of Arts and Cultural Education Policy." Journal of Art Education 35 (September 2013): 317–46. http://dx.doi.org/10.35657/jae.2013.35.0.013.

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23

Joseph, Priya. "Connecting arts and place: cultural policy and American cities." Urban Research & Practice 13, no. 4 (August 7, 2020): 473–75. http://dx.doi.org/10.1080/17535069.2020.1809261.

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24

Lindsay, Jennifer. "Cultural policy and the performing arts in Southeast Asia." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 151, no. 4 (1995): 656–71. http://dx.doi.org/10.1163/22134379-90003033.

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25

Wyszomirski, Margaret. "From Public Support for the Arts to Cultural Policy." Review of Policy Research 21, no. 4 (July 2004): 469–84. http://dx.doi.org/10.1111/j.1541-1338.2004.00089.x.

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26

Kovacs, Jason F. "Cultural planning in Ontario, Canada: arts policy or more?" International Journal of Cultural Policy 17, no. 3 (June 2011): 321–40. http://dx.doi.org/10.1080/10286632.2010.487152.

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27

Borchi, Alice. "Connecting arts and place: cultural policy and American Cities." International Journal of Cultural Policy 26, no. 2 (November 8, 2019): 268–71. http://dx.doi.org/10.1080/10286632.2019.1690478.

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Madden, Christopher. "Indicators for arts and cultural policy: A Global perspective." Cultural Trends 14, no. 3 (September 2005): 217–47. http://dx.doi.org/10.1080/09548960500436824.

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Lee, Hye-Kyung. "Rethinking arts marketing in a changing cultural policy context." International Journal of Nonprofit and Voluntary Sector Marketing 10, no. 3 (2005): 151–64. http://dx.doi.org/10.1002/nvsm.9.

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Bakke, Marit. "Cultural Policy in Norway." Journal of Arts Management, Law, and Society 31, no. 1 (January 2001): 10–33. http://dx.doi.org/10.1080/10632920109599577.

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Duelund, Peter. "Cultural Policy in Denmark." Journal of Arts Management, Law, and Society 31, no. 1 (January 2001): 34–56. http://dx.doi.org/10.1080/10632920109599578.

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Kangas, Anita. "Cultural Policy in Finland." Journal of Arts Management, Law, and Society 31, no. 1 (January 2001): 57–78. http://dx.doi.org/10.1080/10632920109599579.

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Larsson, Tor, and Per Svenson. "Cultural Policy in Sweden." Journal of Arts Management, Law, and Society 31, no. 1 (January 2001): 79–96. http://dx.doi.org/10.1080/10632920109599580.

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Lewis, Justin. "Designing a Cultural Policy." Journal of Arts Management, Law, and Society 24, no. 1 (March 1994): 41–56. http://dx.doi.org/10.1080/10632921.1994.9941756.

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Hunter, Mary Ann. "Redefining ‘Industry’: Young People and Cultural Policy in Australia." Media International Australia 90, no. 1 (February 1999): 123–38. http://dx.doi.org/10.1177/1329878x9909000113.

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This article considers the place of youth arts and cultures in the cultural industries approach to cultural policy. It argues that the ‘covert economic overlay’ (Brokensha, 1996: 101) of the Australian National Culture–Leisure Industry Statistical Framework privileges certain processes in a ‘government convenient’ model of industry inputs and outcomes, and that the assumptions of this model are challenged by youth-specific and community-based modes of production. Furthermore, it argues that the philosophies and practices of contemporary youth-specific arts organisations have the potential to redefine ‘culture industry’ and contribute to a ‘coherent new paradigm’ of cultural policy (UNESCO, 1995: 232). This paper makes these arguments by examining the place of youth arts and cultures in the existing environment of cultural industrialisation, by considering recent government policy responses to young people's cultural activity and by addressing long-term policy issues for the support of young people and cultural development.

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36

Gibson, Lisanne. "The Arts as Industry." Media International Australia 90, no. 1 (February 1999): 107–22. http://dx.doi.org/10.1177/1329878x9909000112.

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There is a discursive split in Australian arts policy between subvention of the arts justified in terms of ‘humanistic’ objectives and subvention of the arts justified in terms of ‘economic’ objectives. It is possible to locate the emergence of this particular split to the 1976 Industries Assistance Commission Report, Assistance to the Performing Arts. Over the last two decades, these policy objectives have been constructed as in competition. This paper traces the history of the construction of the ‘arts as industry’ in Australian arts policy. In conclusion, it queries the more recent terms in which ‘arts as industry’ policy objectives have been set as in opposition to ‘public provision’ models of arts subvention.

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Rutten, Kris, Helena Calleeuw, Griet Roets, and Angelo Van Gorp. "Cultural policy and participatory art practices in Flanders." Journal of Organizational Change Management 32, no. 2 (April 8, 2019): 266–81. http://dx.doi.org/10.1108/jocm-08-2018-0209.

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Purpose In Flanders, the subventions in the cultural sector are mainly divided and decided upon within the framework of the Arts Decree. Within this policy framework, art organizations may choose in their funding applications for “participation” as one of the five possible functions to describe their artistic and cultural practices. However, questions need to be raised about the different interpretations of the notion of participation within this policy framework. The growing trend of evidence-based policy-making implies that participation risks to become a “target” that needs to be achieved instrumentally, which paradoxically ignores the fact that participatory practices within culture and the arts are very often diverse, multi-layered and context-specific practices. Starting from this paradox, the purpose of this paper is to explore how the current policy framework is translated into different “participatory” art practices by art organizations and specifically how cultural practitioners themselves conceptualize it. Design/methodology/approach In this paper, the authors discuss the results of a qualitative research based on semi-structured interviews with cultural practitioners about how they grapple with the notion of participation within their organizations and practices. Findings The results clearly show that practitioners use micro-politics of resistance to deal with different, and often conflicting, conceptualizations of participation in relation to this cultural policy framework. Research limitations/implications The implications of the findings are vital for the discussion about cultural policy. These micro-politics of resistance do not only have an impact on the development of individual participatory art practices but also on the broader participatory arts landscape and on how the function of participation is perceived within the renewed policy framework. Originality/value The original contribution of this paper is to explore the perspective of practitioners in cultural organizations about the function of participation in the Arts Decree in Flanders and specifically how the notion of participation is operationalized in their practices in relation to this cultural policy framework.

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Isar, Yudhishthir Raj. ""Cultural Policy": Towards a Global Survey." Culture Unbound 1, no. 1 (June 11, 2009): 61–65. http://dx.doi.org/10.3384/cu.2000.1525.091551.

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The field of “cultural policy” has acquired sufficient purchase internationally to warrant a comparative global survey. This article examines questions that arise preliminary to such an endeavour. It looks first at the problems posed by the divided nature of “cultural policy” research: on the one hand policy advisory work that is essentially pragmatic, and on the other so-called “theoretical” analysis which has little or no purchase on policy-making. In both cases, key elements are missed. A way out of the quandary would be to privilege a line of inquiry that analyzes the “arts and heritage” both in relation to the institutional terms and objectives of these fields but also as components of a broader “cultural system” whose dynamics can only be properly grasped in terms of the social science or “ways of life” paradigm. Such a line of inquiry would address: the ways in which subsidized cultural practice interacts with or is impacted by social, economic and political forces; the domains of public intervention where the cultural in the broader social science sense elicits policy stances and policy action; the nature of public intervention in both categories; whether and how the objects and practices of intervention are conceptualised in a holistic way. A second set of interrogations concerns axes for the comparison of “cultural policy” trans-nationally. One possible axis is provided by different state stances with respect to Raymond Williams’ categories of national aggrandizement, economic reductionism, public patronage of the arts, media regulation and the negotiated construction of cultural identity. Another avenue would be to unpack interpretations of two leading current agendas, namely “cultural diversity” and the “cultural and/or creative industries”.

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Romashko, Tatiana. "Biopolitics and Hegemony in Contemporary Russian Cultural Policy." Russian Politics 3, no. 1 (March 5, 2018): 88–113. http://dx.doi.org/10.1163/2451-8921-00301005.

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Анотація:

Since 2011, Russian ‘licensing civil society’ 1 has predominated through censorship and the restrictive regulation of arts and cultural societies. The current conservative project has turned artistic space into public space, indicating moral abuse and a threat to the spiritual health of the Russian nation. Consequently, the symbolic borders of human creativity and individual freedom in arts and cultural societies have been reduced to patriotism, nationalism and moral deductive functions of the state-approved program. This paper will explore Russian state cultural policy and argue that biopolitics is its mainstream strategy. It examines how the ensemble of sovereign and disciplinary power defines and instrumentalizes the concept of culture while also producing lines of inclusion and exclusion within the conservative political project. The major emphasis is placed on the question of political control over the body, spirit and national identity.

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Bordat-Chauvin, Elodie. "(De)politicising Argentinian cultural policy? an analysis of Macri’s cultural policy (2015–19)." Cultural Trends 31, no. 2 (December 13, 2021): 169–84. http://dx.doi.org/10.1080/09548963.2021.1996204.

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41

Luk, Y. T. "Postcolonial Culture Policy in Hong Kong." Media International Australia 94, no. 1 (February 2000): 147–55. http://dx.doi.org/10.1177/1329878x0009400114.

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This paper is concerned with the arts and culture policy in Hong Kong in the postcolonial context, after the 1997 reversion to Chinese sovereignty. It addresses itself to the main concerns of arts policy with a view not only to making cultural activities flourish, but also to shaping— if possible — a Hong Kong identity as a special administrative region of China, taking into account Hong Kong and its people as a cultural, political, economic and social location.

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42

Widdig, Bernd, and Glenn R. Cuomo. "National Socialist Cultural Policy." German Quarterly 70, no. 2 (1997): 202. http://dx.doi.org/10.2307/407571.

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Bailey, Rowan, Claire Booth-Kurpnieks, Kath Davies, and Ioanni Delsante. "Cultural Ecology and Cultural Critique." Arts 8, no. 4 (December 17, 2019): 166. http://dx.doi.org/10.3390/arts8040166.

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Анотація:

In 2015, the Arts and Humanities Research Council (AHRC) commissioned John Holden, visiting professor at City University, London, and associate at the think-tank Demos, to write a report on culture as part of its Cultural Value Project. The claim within the report was to redirect culture away from economic prescriptions and to focus on ecological approaches to ‘value’. Holden considers the application and use of ecological tropes to re-situate culture as ‘non-hierarchical’ and as part of symbiotic social processes. By embracing metaphors of ‘emergence,’ ‘interdependence,’ ‘networks,’ and ‘convergence,’ he suggests we can “gain new understandings about how culture works, and these understandings in turn help with policy information and implementation”. This article addresses the role of ‘cultural critique’ in the live environments and ecologies of place-making. It will consider, with examples, how cultural production, cultural practices, and cultural forms generate mixed ecologies of relations between aesthetic, psychic, economic, political, and ethical materialisms. With reference to a body of situated knowledges, derived from place studies to eco-regionalisms, urban to art criticisms, we will consider ecological thinking as a new mode of cultural critique for initiating arts and cultural policy change. Primarily, the operant concept of ‘environing’ will be considered as the condition of possibility for the space of critique. This includes necessary and strategic actions, where mixed ecologies of cultural activity work against the disciplinary policing of space with new assemblages of distributed power

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Lewandowska, Kamila, and Emanuel Kulczycki. "Science policy as implicit cultural policy: evaluation of the arts in Polish academia." International Journal of Cultural Policy 27, no. 2 (February 23, 2021): 202–17. http://dx.doi.org/10.1080/10286632.2021.1873963.

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Bailey, Chris. "Cities, cultural policy and governance." Cultural Trends 22, no. 2 (June 2013): 133–35. http://dx.doi.org/10.1080/09548963.2013.783180.

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Park, Ji-Young, Yeran Kim, and Eun-mee Kim. "Arts and Cultural Policy Meets Arts Project Managers in the Regime of Creative Industry." Korean Journal of Communication & Information 86 (December 31, 2017): 69–115. http://dx.doi.org/10.46407/kjci.2017.12.86.69.

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Katz, Stanley. "History, Cultural Policy, and International Exchange in the Performing Arts." Performing Arts Journal 9, no. 2/3 (1985): 76. http://dx.doi.org/10.2307/3245512.

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Quinn, Bernadette. "A comment on: arts festivals, urban tourism and cultural policy." Journal of Policy Research in Tourism, Leisure and Events 11, sup1 (January 10, 2019): s8—s12. http://dx.doi.org/10.1080/19407963.2018.1556855.

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Selwood, Sara. "Cultural Policy and Young People’s Participation in the Visual Arts." Journal of Art & Design Education 16, no. 3 (October 1997): 333–40. http://dx.doi.org/10.1111/1468-5949.00094.

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McIsaac, Peter M. "PUBLIC‐PRIVATE SUPPORT OF THE ARTS AND GERMAN CULTURAL POLICY." International Journal of Cultural Policy 13, no. 4 (November 2007): 371–91. http://dx.doi.org/10.1080/10286630701683276.

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