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South Africa is rapidly obliterating its cultural resources and indigenous values. Particularly, this is the case in rural South Africa where manifestations of socio-economic declensions are evident. However, a number of the policies that are meant to enhance rural development lack a cohesive strategy that is based on culture-based theoretical frameworks. The paper argues that the conspicuous disregard to address rural development and its concomitant socio-economic challenges in the Revised White Paper on Arts, Culture, and Heritage, 2017, by the Department of Arts and Culture (DAC), now (DSAC); poses a great threat to sustainable rural development [ABSTRACT FROM AUTHOR]

This paper explores arts leadership through the lens of systems intelligence, one leadership strategy that offers new ways of thinking and behaving applicable to a rapidly changing landscape. The authors employ a systematic literature review to 1) establish a foundation and then 2) examine this knowledge through the lens of systems intelligence to fill gaps in arts leadership theory and practice. The research concludes with a conceptual model and three leadership capacities that emerge from the convergence of foundational arts leadership literature and the systems intelligence frame: shared leadership, managerial creativity, and systems-based relationship building. Ultimately, this research offers collective foundational knowledge and advances emerging theory related to the conceptualization of arts leadership. [ABSTRACT FROM AUTHOR]

This paper explores the interactions and cooperation between public-sector, business-sector, and civil-society stakeholders in developing British film policy for educational and cultural purposes. In particular, this paper adopts the Advocacy Coalition Framework to explain why and how public authorities, film industry organizations, and educationalists efficiently communicated and cooperated with each other in making the British Film Institute. By doing that, this paper explains (1) how commercial business and social workers, who were initially hostile, could build constructive partnerships; (2) how inactive, noninterventionist governments could be involved in the policymaking for cultural sectors; and (3) how private business could be persuaded into supporting cultural and educational policy for noncommercial purposes. [ABSTRACT FROM AUTHOR]

This paper investigates the case study of William Powhida and two different contracts that the artist developed: first, the intentionally draconian contracts that the artist developed within an artwork, Grevsky, to force artists into subordinating their intellectual property position to commodification, and second, the contract that the artist William Powhida, the person, developed to ask his friends to help him store art. Applying Grant's (2013) framework of givers, takers, and transactors, this paper presents a conceptual framework of ungenerous and generous contracts. The paper makes the argument that economic awareness, legal strategy, and a spirit of friendship can co-exist and that draconian contracts are rarely needed in an arts context in which stakeholders are likely to have shared interests in both sides of a contract. This analysis presents a more generalizable framework of non-zero-sum contractual negotiation in relation to the artistic and financial nature of works of art, as well as an argument for the importance of rhetoric and contractual structures of collaboration and friendship. These contractual questions become increasingly important as artists employ self-executing "smart" contracts for blockchain-based or non-fungible token (NFT) works, and as artists continue to rely on contracted freelance work. The increased reliance on digital working conditions creates higher stakes rights management given likelihood of recording. [ABSTRACT FROM AUTHOR]

AbstractThis paper presents a strategic impact and assessment approach—the Rubin-Imbens potential outcomes framework—to help identify the causal effects of initiatives for arts and culture organizations, which is increasingly required by the public and stakeholders in an era of financial precarity and digitization. This framework not only strengthens the argument for diversified arts funding, but also equips organizations with the tools necessary for developing sustainable business models. After embedding the proposal in the context of prior literature, I provide some practical guidance that organizations can use to achieve operational sustainability without compromising their artistic missions. The adoption of the Rubin-Imbens framework in arts management has the potential to produce more rigorous impact assessments that ultimately lead to improved outcomes and funding opportunities. [ABSTRACT FROM AUTHOR]

At the beginning of information revolution, museums were understood to have high hopes for the revenue that digital image licensing (DIL) services might generate. Taking the National Palace Museum, Taiwan, as a case study, this paper applies cultural economics analysis to find out why DIL services in museums have not yet to report significant profits and why a growing number of art history museums have chosen to encourage free or CC-licensed distribution of their images. Our investigation identifies that DIL services in museums suffer from 'Baumol's Disease' and there may be a tradeoff between the monetary and education values of museums' digital images. The main contribution of this paper is to present art history museums with an optimal DIL management model. [ABSTRACT FROM AUTHOR]

Academic approaches to arts and cultural leadership have focused predominantly on established leaders in the organizational context. Taking an alternative approach, this paper considers the identity development of emerging leaders within disciplinary-based communities. It argues that leadership is both socially constructed and not universally embraced, analyzing 41 interviews with Australian arts and cultural practitioners to demonstrate that emerging arts and cultural leaders are often reluctant to identify as leaders. The paper explores reasons for this reluctance and discusses implications for the sector. The research contributes to theoretical knowledge of arts and cultural leadership and of the development of emerging leader identity. [ABSTRACT FROM AUTHOR]

This paper addresses the need for local cultural policies targeting cinema exhibition. Portugal evidences extreme dependency upon the central government, including for local movie screening, thus expressing the Portuguese high territorial asymmetry. Our research discusses the importance of noncommercial exhibition for countering this situation, as it is implemented by local agents (not only film societies) with a wider cultural intervention. When reflecting on the European countries policies for cinema and acknowledging the big socioeconomic and historical differences between Portugal and the Nordic countries, the regional-local initiatives of the latter emerged as an important issue for decentralization, especially the Norwegian scheme. [ABSTRACT FROM AUTHOR]

Museums constantly face challenges from the ever-changing political, economic, technological, and social environment. One such challenge is to thrive despite the difficult economic climate and decreased public funding. This difficulty pressures museums to develop stronger engagement with the corporate sector. Consequently, such tendencies have sparked discussion as to the ethics of the corporations' involvement and with whom museums should cooperate. Ethics has become a focal point of museum funding. This paper investigates, based on the data from questionnaires and interviews with museum professionals, this emerging topic and explores the role of ethics among museums using the Czech museum sector sample. [ABSTRACT FROM AUTHOR]

In the past decade, the Chinese government's financial subsidies for performing arts troupes accounted for an average of 50.57% of their total income. By the end of 2021, China has 18,370 performing arts troupes and 3,093 performing arts venues. The research conclusions of this paper include the following four points: (1) Digital live-streaming theater(DLT) is an "innovation" for traditional Stage Theater(ST) performance, and its changes in creation mechanism, audience-actors relationship, technical esthetics and business model are worthy of further study. (2) Data from 2011 to 2021 show that Baumol's cost disease also exists in Chinese performing arts. (3) The Chinese government has been reducing its direct management and control of arts troupes, trying to move toward "arm's length" governance. (4) During the COVID-19 epidemic, performance case data from China show that DLT can indeed reduce the marginal cost, attract more young audiences, and increase performance revenue. However, considering the high technical cost input, whether digital technology can alleviate the cost disease of performing arts still needs more annual industry data analysis. [ABSTRACT FROM AUTHOR]

This research paper gleans insights from significant historical cases to unravel the essence of a 'creative milieu.' Our study scrutinizes the factors that shaped artists' settlement patterns in Shanghai during the Republican era (1912–1948) by constructing both global and local spatial regression models across three pivotal years, thus unveiling seven distinct variable categories. We argue that paramount among these attributes are individual art intermediaries, art schools, and art organizations. Furthermore, our inquiry acknowledges the diverse and idiosyncratic characteristics inherent to artistic communities and delineates between attributes of particular relevance to the Chinese context and those adaptable within a Western paradigm. [ABSTRACT FROM AUTHOR]

Cultural participation is associated with many benefits. Therefore, it is seen as an instrument to achieve social change and development. However, clear empirical proof for these claims is limited. There is a need for new frameworks and clear evaluation methods. This paper presents a conceptual framework that enables cultural organizations to understand the purposes of impact measurement. It also shows the steps cultural organizations can take to measure and manage their social impact. Consequently, it enables them to measure the impact on their beneficiaries while the lessons learned can help them to improve and manage their performance. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to explore the nature and interplay of the logics that inform the day-to-day work of small cultural productions. Positioned in the literature on cultural and creative industries, it embraces a discourse perspective and in particular the concept of "polyphony" as an analytical lens. Empirically, the paper draws on a case study of a music association, in which the authors especially followed the production of a music festival. What emerges is a situation of pluralism of discourses, a variety of relations among these discourses, and fluidity of discourses across actors and roles, which lead the authors to question, at least in part, the presupposed artistic vs. business dualism within which cultural productions and creative industries are instead typically framed. [ABSTRACT FROM AUTHOR]

Artistic work in Aotearoa has long been underpaid and undervalued. In this paper, we examine policy statements made by the New Zealand government from September 2017 until November 2020 about the nature and value of artistic work. Early statements appear to challenge the economization of the arts, and to suggest alternative ways the arts might be valued, including for their inherent connection to well-being and social justice. However, rather than moving the arts away from commercial imperatives, we argue that government initiatives have been implicitly equipping artists and arts organizations to deliver their own economization. [ABSTRACT FROM AUTHOR]

Danmu is the Chinese pinyin of 弹幕, which is often used to describe the interactive, on-screen commenting system featured by both sub-cultural bullet-screen platforms and dominant video-sharing platforms. While the transformation of the power relationship between the public and the official and between viewer and author has received considerable scholarly attention, less attention has been paid to how the danmu system has affected the textuality of contemporary online audiovisual texts. Based on the Bakhtinian carnival, this paper explores the textual structure and signifying mechanism of danmu. It argues that danmu has dual textual identity, the paratext of online videos and the textual component of bullet-screen videos respectively. Danmu allows viewers to not only make comments on online videos but also reconstruct them. Such interactive construction of online audiovisual texts represents the rise of mass writing. [ABSTRACT FROM AUTHOR]

The paper discusses the reasons behind the dominance of governance in contemporary societies. The techniques of government cannot be understood apart from a critical genealogy of governmentality. This article references Michel Foucault's analysis of governmentality to analyze the role of governance in arts and cultural management. It argues that, following the governmental state described by Foucault, the contemporary governance state is defined by a new spectacle governmentality. The globalized context of this governmentality produces a simulacrum of governance that tends to substitute for actual outcomes. The South Korean case is used to illustrate this new form of ubiquitous cultural governance. [ABSTRACT FROM AUTHOR]

Our paper advances the understanding of entrepreneurship theory and practice from the perspective of an entrepreneurial training intervention for emerging creatives. Previous studies identify a need to provide entrepreneurial training to assist emerging creatives while highlighting the limited support available in higher education curricula which influences their career development. Based on a case study of a creative innovator program which facilitated emerging creatives in their new venture creation, we identify best practices in achieving a balance between generic to personalized entrepreneurship training and enabling access to first-hand advice from industry experts through mentorship and networking. The program enabled emerging creatives to build confidence, legitimized their new venture creation and consequently helped them to develop their professional identities. [ABSTRACT FROM AUTHOR]

Although the contemporary art system has experienced relevant changes in Mainland China over the past decades, only recently it gained an international reputation. Within this context, art fairs played a strategic role in developing relationships with players of the global art world. The aim of this paper is to analyze this internationalization process by focusing on two dimensional measures: the composition of galleries attending art fairs and their network embeddedness. Using Social Network Analysis (SNA) to explore contemporary art fairs in Mainland China over the period 2007–2019, we show the transition from local to international hub, suggesting the importance of art fairs as a potential soft power vehicle. [ABSTRACT FROM AUTHOR]

This paper shows that humans perceive the value of paintings made by AI as lower than the value of those made by humans when the creator of the work is known. This phenomenon occurs regardless of which style (figurative or abstract) the evaluated paintings have. The negative impact of the information that AI is the author of a painting is mediated by the author's artistry (AA) and the overall impression (OI) the painting makes on participants. Moreover, it was found that people use context cues when assessing paintings made by humans and AI. The perceived value of a painting increases when the information about the value of the painting made by AI was provided as a context cue, indicating that people exclude works created by AI from the category of human-made art. The method used in the research is an experiment made with 296 respondents (42.6% female). The age of the participants ranged between 18 and 62 (M = 35.30, SD = 10.76). [ABSTRACT FROM AUTHOR]

This paper explores the UK's subsidized creative industries sector through the lens of organizational stigma literature. We argue that this theoretical lens contributes nuance and depth to an underexplored yet imperative aspect of the creative industries within the UK at a time when it needs to recover and reconfigure its value-based assessment system as it emerges into the post Covid-19 "new normal." We bring together two separate, but interlinking studies of a national arts funder's key stakeholders and its recipient organizations to explore the legitimacy of the funder's value-based judgements, and the impact of these on subsidized arts organizations. [ABSTRACT FROM AUTHOR]

Cities can be incubators for innovation and key drivers of sustainable development. The conditionality for urban landscapes to be inclusive, will depend on the creativity for new orders and new strategies for social and cultural integration. The crucial role of urban landscapes in promoting sustainable development is notably recognized in the 2030 Agenda for Sustainable Development which identifies culture and creativity as one of the essential levers for action in this context. Some examples on that direction point at the 2004- UNESCO created Creative Cities Network (UCCN) that aims to promote cooperation with and among cities that have identified creativity as a strategic factor for sustainable urban development. The UCCN focuses on seven creative fields, namely crafts and folk- arts, design, film, gastronomy, literature, media arts, and music. From the perspective of social anthropology and the arts, different stakeholder groups meet and exchange at urban places and co-create urban scenarios and scenographies by negotiating the urban landscapes through urban placemaking projects. This paper contributes to Sustainable Development Goal (SDG) 11 whose aim is to make cities and human settlements inclusive, safe, resilient and sustainable by exploring and assessing urban placemaking strategies to strengthen inclusive and sustainable human settlement planning and management. For this purpose, the main research question of this project is: How to stimulate successful placemaking in urban landscapes for social integration in open urban spaces. [ABSTRACT FROM AUTHOR]

This paper examines the careers of artists and cultural workers who completed a one-year arts management graduate program. After the program, almost half of the participants were in positions with managerial responsibility, of which the majority combined artistic and administrative responsibility. The aim of the study was to fill a knowledge gap with regard to differences between managers and non-managers among graduated arts management students in terms of self-perceived working conditions and professional identity. The study was based on a survey of graduates (N = 73) from the six-year period 2012-2017. The results show that graduates with managerial responsibility view their working conditions significantly better than those without such responsibility. Managers experience more creative and interesting jobs and score higher on extrinsic conditions such as employment security and income level. They also experience higher career satisfaction and express a stronger leader identity, and notably, they retain an artistic identity to the same degree level as non-managers. Finally, leader identity is positively related to career satisfaction, whereas artistic identity implies a precarious working situation and lower career satisfaction. [ABSTRACT FROM AUTHOR]

Issues related to the definition of national identity are increasing across the world, even though they are not new. Since their own rise in the mid-1950s, minority nation governments, for political reasons and "identity and cultural survival," have been dealing with the conundrum of promoting their national identity while including newcomers. Our paper highlights the approaches of one illustrative minority nation government – Québec – in managing national identity and its cultural development. Building on Saint-Pierre's (2004) framework of cultural policy and Bergeron's (1982) theory of the state, we divide our analysis into distinct time periods and show that the political and socio-economic context affects the development of culture and language policies, as well as the identity and nationalism of Québec. [ABSTRACT FROM AUTHOR]

With reference to "Arts and Culture Nodes" strategy initiated in 2012 by the National Arts Council (NAC) in Singapore, this paper outlines the study that investigated the impacts of community arts and culture events on five local housing neighborhoods and their communities. "Neighbourhood Arts and Culture Impact Assessment (NACIA)" framework was developed and applied through spatial opportunity analysis (on-site observations and mapping), surveys, focus group discussions and interviews with residents, artists and event organizers. Key findings reveal the capacities of the initiative to generate positive spatial, social and participation impacts and build stronger neighborhood arts ecology in local Singaporean neighborhoods. [ABSTRACT FROM AUTHOR]

Discusses papers submitted in the 26th Annual Conference on Social Theory, Politics and the Arts which was held in Washington, D.C. from October 12 to 15, 2000. Main challenges for the arts and humanities; Central topic of the event; Topics of the papers.

This article attempts to discuss the delicate relationship between the arts and international politics and the instrumental role the arts may play in international relations. The paper sets the Cold War as the stage and uses the Edinburgh International Festival as the subject of research to trace the interplay between the arts and international relations. Specifically, the article answers the questions of how the festival was impacted by the changing international relations over the Cold War period and how the festival as an arts organization exerted influence on international politics. [ABSTRACT FROM AUTHOR]

Diversity is a core value of cultural policy, and new global digital conditions for creative industries mean new challenges for diversity at a national level. Internet has become a new infrastructure for services and platforms, and global actors as Google and Amazon are changing the play. This article concerns digitization of books, the collection of the National Library of Norway and cultural policy. The results indicate the National Library's digital collection contributes to diversity in terms of demography, content, dissemination and techno-cultural aspects. For policy makers, libraries and researchers the study demonstrates a national digital service's contribution to expanded diversity. [ABSTRACT FROM AUTHOR]

Discusses the tension between the realms of arts and entertainment in the U.S. Sources of U.S. cultural trends since World War II; Features of U.S. newspapers; Distinctions between high and popular art forms.

Marketing is a relatively new academic discipline. Arts marketing as a subfield of marketing began in the 1960s. Sociologists and economists were the first to contribute to the knowledge. American authors then stepped in the late 1970s to the 1990s. Starting in the 2000s, European as well as Australian colleagues took the lead in terms of number of articles published. Currently, academic research by marketing scholars is enriching this new field of inquiry on consumer behaviors and on the four traditional P's of marketing: product (and brand), price, place, and promotion. [ABSTRACT FROM AUTHOR]

This article examines career building for visual artists, whereby a successful career is defined as exhibiting work, reaching a wide audience, and making a living by selling art. Using insights from management, marketing, entrepreneurship, and sociology, the authors develop a conceptual model for constructing a successful career, the Building Blocks of Artistic Careers model (BBAC). Pursuing such a career entails entrepreneurial and marketing skills, cultivation of relationships with art world gatekeepers, brand creation strategies, and reputation management. The article contributes to the literature of visual arts entrepreneurship, has implications for art school curricula, and raises issues for further research. [ABSTRACT FROM AUTHOR]

Introduces research papers dealing with questions of cultural policy. The five articles offering an international perspective based on the cultural policies in seven countries; The common theme of the governments' desire to democratize culture; Overview of topics, which include the influence of a country's political system in how the government intervenes in the field of culture; The role of government in supporting the arts; Mutual lack of understanding between artists and industrialists.

Social media are continuously diffusing in performing arts organizations. Yet little is known on how social media data can contribute to the performing arts evaluation process. This article addresses this issue by investigating if and how Twitter data can add a valuable source of information to the performance evaluation process. A literature review with an empirical application on the evaluation of the performance Aida at Teatro Alla Scala provides evidence about the type of indicators that can be derived from Twitter and support a discussion about potentialities and pitfalls connected to their adoption for the evaluation of performing arts. [ABSTRACT FROM AUTHOR]

The emergence of the creative industries as a policy concept has been recent and rapid. Despite divergent cultures, politics, languages, and histories, a wide variety of countries have adopted the strategy of recognizing, celebrating, and (sometimes) supporting the development of those industries considered to garner their value from the creativity of those that work in them. Rather than interpreting this emergence as a result of the creative industries being at the frontline of the rising global knowledge economy, or as the latest manifestation of a long history of cultural commodification attractive to neoliberalized governance regimes, this paper argues that the creative industries have globalized through complex processes of engagement in political and technical spheres as various policy actors and networks have sought to enroll the concept in their own political projects. This is explored by considering how the creative industries concept has been technically rendered as a global form capable of travelling to quite different places, while still maintaining a degree of coherence. Three examples are given: (1) the engagement of the policy concept by policy actors in the UK located at the local and regional level, (2) the transfer of the policy concept to New Zealand where it was deployed first as a cultural policy solution and then as an economic policy solution, and (3) the emergence of a transnational policy community of creative industries policy experts networked across globally distributed sites of knowledge production and exchange. It is concluded that globally there is much diversity in the development of creative industries policy programs, but, somewhat counterintuitively, it is the common reference point of the original formulation that has allowed this diversity to flourish. [ABSTRACT FROM AUTHOR]

This article addresses the problem of efficiency measurement in the performing arts by investigating the highly heterogeneous Russian theater market. We adopt data envelopment analysis and explore efficiency drivers, focusing on two groups of public theaters, classical academic and leading regional theaters. The scope of programming, observed through touring and new productions, is shown to have a negative impact on efficiency. The implications highlight the importance of accounting for the sector's heterogeneity for more accurate and meaningful measurements of efficiency. The results can inform decisions on programming and resource allocation to optimize both artistic and financial goals. [ABSTRACT FROM AUTHOR]

Digital artwork can facilitate the spread of culture while preserving and sustaining its value. However, digital image transactions are trapped in the traditional trading modes. As digital technology and the Internet of Things progressed, society moved into the information age. Thus, our conceptualization of private intellectual property rights evolved, allowing for the removal of artificial barriers between rights owners and consumers. This study bridges this gap by developing an individually-tailored authorized trading platform for digital artwork. First, we use copyrights underlying digital artwork licensing as a lens to examine new copyright licensing model challenges and the use of value-added applications in the modern digital environment. Second, we analyze foreign digital artwork trading platforms to better understand the functions of a digital artwork image licensing platform. By using the questionnaire to determine what functions digital artwork platforms should include, we can shift the object of investigation to the artists themselves. [ABSTRACT FROM AUTHOR]

Cultural policy in USA has usually been considered an exception at the international level, not only because it constitutes a unique model due to its liberal orientation and its lack of central coordination, but also because it stands out for the limitations it places on federal action. The explanation for this has traditionally focused on external factors such as the rejection of totalitarianism or the strength of the private cultural market. However, this emphasis on factors external to the cultural system is exaggerated and above all, underestimates internal factors of a religious nature. For this reason, we propose that one of the explanatory factors for this singularity is Protestantism in its most fundamentalist variants, which promotes an anti-intellectual and puritanical political culture. Consequently, a part of the population and especially the political elite linked to the Christian right has limited the consolidation and empowerment of cultural policy since the 1960s. [ABSTRACT FROM AUTHOR]

The term "community engagement" has been a buzzword in the arts and culture sector, but it has been used interchangeably with "civic engagement" and "audience engagement" without a clear understanding of arts and culture nonprofit organizations. Using original survey data from 106 nonprofit arts and culture organizations, our study identifies the overlap as well as the gap between audience engagement and civic engagement as understood by arts and culture nonprofits, as well as common organizational characteristics that are associated with certain types of engagement activities. We propose ways to differentiate audience engagement and civic engagement activities in arts and culture nonprofits. [ABSTRACT FROM AUTHOR]

This study addresses a gap in board director research by investigating how individual personal values influence board strategic engagement. The nature of board directors' strategic engagement was examined qualitatively, using 65 in-depth interviews, content analysis, board meeting observations and board workshops. Using an interpretative lens, four differing individual personal characteristics were identified and labeled: 'mission-driven', 'commanding', 'shape-shifting', and 'community-minded'. These concepts coincided with theory of personal value theory, used in previous studies linking managers (but not board directors) to behaviors. Practical implications provide insights into attracting, retaining and developing an appropriate mix of directors to enhance nonprofit board strategic engagement, boosting performance. [ABSTRACT FROM AUTHOR]

This article critically examines the way in which the legitimation of emerging artists occurs in the digitalized art market. Based on a conceptual specification of intermediaries' practices in the legitimation process, we have conducted a case study of Saatchi Art, a pioneering digital platform for trading artworks. We perform a deductive analysis of introduction, interpretation, and selection of artists based on a variety of qualitative data. Our findings show that the legitimacy of selected artists is constructed mainly by Saatchi Art's curatorial programs. The exclusive practice of granting legitimacy to selected artists by curators stems from symbolic capital- that has accumulated from their career in the conventional art market, thus, implying a close linkage between the offline and online art worlds. Therefore, the disintermediation that is initiated by the digital art platform gives rise to reintermediation due to the necessity of interpreting and endorsing the uncertain value of contemporary artworks and artists. [ABSTRACT FROM AUTHOR]

Artists, fashion and foundations can connect in different ways. Operating and independent foundations tell biographies and legacies of artists. During their life and as for their legacy, artists can influence styles, frames, fashion being one constitutive way of life. Fashion corporations and foundations can be inspired by artists and artists can be supported by them. The aim of this article is to estimate how much accounting data of American artist-endowed foundations give evidence of their connections through art-keting with multiple stakeholders in order to support creativity, above all, fashion. Art-keting includes several and complex phenomena, from co-marketing to contaminations and hybridizations. It encompasses both relationship marketing and social media communication. The methodology includes the analysis of economic performance as for data in 990 Forms and a multiple regression analysis of 2016's accounting main lines of a sample of the biggest US artists-endowed foundations. If artist-endowed foundations connect with fashion thanks to multiple projects, their assets grow thanks to art-keting. [ABSTRACT FROM AUTHOR]

From the literature on art experience, we know that art experts and non-art experts have different cognitive information processes when encountering an artwork, but we don't know how this difference might influence the art experience. The purpose of this article is to test how expertise affects art experiences. Expertise is measured on several dimensions, one of them being the level of knowledge on the specific artwork, which is a new contribution to the literature. Our case is the Sistine Chapel at the Vatican Museum in Italy where the investigations took place in a real museum context. [ABSTRACT FROM AUTHOR]

There is a widespread belief that the higher the level of subsidies, the better the performance of film industries (both in quantity and quality). This article focuses on film quality—evaluated by audiences and critics—and scrutinizes this assumption through four selected countries—France, Korea, UK, and US. The main findings of this article are summarized through two points. First, despite the Korean film industry receiving the lowest level of public support, its film quality is higher than that of other selected countries. Second, the impact of subsidies on film quality turns out to be positive for the French, UK, and US films while it is negative or nil for Korean films. Although these results reflect partly differences in the background of each film industry and its public support in the four countries, they suggest that the effectiveness of subsidies and enhancement of film quality can be best achieved by better designing the subsidy schemes—not by increasing their amount. [ABSTRACT FROM AUTHOR]

This research proposes a new method to map and classify art clusters, combining multiple dimensions of spatial and social network analyses. This method innovatively blends a historic GIS approach, spatial statistics and qualitative data analysis, and experiments with the Republican-period of Shanghai art world, known as the golden age of art and culture in Shanghai. The outcome is the identification of 11 major art clusters in eight selected years with unique characteristics. It also uncovers a partially correlated yet dialectic relationship between social network dynamics and cluster transformation in Shanghai. These findings fill a knowledge gap in Chinese art history. [ABSTRACT FROM AUTHOR]

The article presents an introduction to this issue of the journal represents another step in the reconfiguration of the editorial board and in streamlining the peer-review process.

Art for social justice has long challenged notions of whose stories are told, how, and by whom, positioning it as a key body of practice to combat neoliberalism and other structures of domination. In the global struggle for liberation, art and social justice practices must be contextualized, requiring approaches and pedagogy that address the cultural landscapes in which they are rooted. Against this backdrop, the artivist-authors explore two questions: 1) In what ways do practices in the arts and social justice differ and intersect across cultural contexts? and 2) What lessons can be gleaned from grassroots and systems-level approaches to arts for social justice? Here, three vignettes, explored through Chicane testimonios and story circles rooted in Black and Indigenous theater practice, elucidate approaches to building creative justice in the landwaters colonized into Colombia, Rwanda, and the United States. Across these three vignettes, questions of practice and lessons learned emerge. [ABSTRACT FROM AUTHOR]

This article analyzes visual artists' response to online sales and dissemination technologies by mapping the range of corresponding positions and position-takings by professional artists in Norway. We consider whether artists' responses align with traditional logics of artistic consecration identified in Bourdieu's accounts of the field of cultural production, and how these responses correspond to Rogers' theory of diffusion of innovations. Employing multiple correspondence analysis, we find position-takings toward online sales and dissemination can be structured by a dimension differentiating between technology-oriented optimism and techno-skepticism, between high and neutral levels of risk aversion toward online technologies, and thirdly between technology adopters and those still at an intentional stage. [ABSTRACT FROM AUTHOR]

The present research aims to highlight the value of incorporating music into natural disaster recovery toward the ultimate goal of better addressing human losses, economic damages, emotional/psychological struggles, and communal/cultural impacts resulting from natural disasters. Qualitative content analysis is the main methodology applied. Music therapy approaches are compared with ethnographic/ethnomusicological approaches at the personal, national, and international levels. The key finding is that the field needs to supplement music therapy approaches with ethnographic/ethnomusicological approaches to aid the recovery of disaster victims, while embracing a multidisciplinary approach, natural disaster management, human connectivity through music, sustainability, education, and training and exercise. This research contributes toward a comprehensive evaluation of not only the benefits but also the shortcomings of the above two approaches. [ABSTRACT FROM AUTHOR]

Research into cultural entrepreneurship has not yet yielded a single definition of the term, or consensus on assessment criteria. In policy practice, however, cultural entrepreneurship is used as a criterion for subsidies and grants. This article brings together the criteria surfacing in academic literature in a model that allows both researchers and policy makers to assess cultural entrepreneurship. This model is tested in six case studies from the Netherlands. The conclusions show that, by focusing on five categories derived from the stakeholders of each cultural entrepreneur, a balanced view can be obtained. It is hypothesized that strategic choices may underlie the unbalance found between the five categories with each institution. [ABSTRACT FROM AUTHOR]

Digitization of collections in Dutch museums can be traced back to 1969. Since then, significant resources have been allocated to digital activities. Results from the digitization trajectory analysis show that museums present a similar rate of adoption (and dissemination) for computers, the Internet, and information policy documents, with a 10-year difference while digitization of collections and online publication of collections have a much slower adoption rate. An explanation is found in the national policies designed to adopt technology focusing on innovation rather than organizational change or skill development. Restricted online publication of collections represents an important efficiency loss. [ABSTRACT FROM AUTHOR]

Legitimacy occupies a central place in cultural production. A critical outlook on legitimacy in the cultural sector reveals that legitimacy is a process (Baumann [2], [3]; Johnson et al. [7]); it requires that oneself deploys a strategy to build its legitimacy, but legitimacy is also attributed; it is granted by others. For Labaronne and Tröndle, evaluation is key not only for creating, but also for maintaining legitimacy and reputation in the arts world. [Extracted from the article]