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Based on data from qualitative interviews and participant observation with those involved in artistic production in New Orleans, this paper considers the effect of crises such as the COVID-19 pandemic on cities and artists. It investigates the supports available to artists before and during the pandemic and the relationship between cultural workers and tourism in New Orleans. This relationship creates a paradox: New Orleans is unique because it is the site of enduring local cultural traditions and emerging creative production, and yet the city must sell its culture to tourists to remain economically solvent. Left to fend for themselves by larger institutions, arts communities and nonprofit organizations came together to mutually support each other. The paper concludes that what we can learn from this case is how people 'make do' and survive during an extended period of crisis – especially when the lessons of survival have been taught and tested through preceding crises. [ABSTRACT FROM AUTHOR]

This contribution intends to overview and frame a conceptual model for Cultural and Creative Enterprises (CCEs) that we call Platform Spaces. The paper contextualizes and discusses the main issues and challenges facing the CCE sector, identifying the need for more complex concepts better able to distinguish new policies and approaches being experimented with in Italy and across Europe. As Italy is currently experiencing a particularly rich period regarding the development of cultural creative activities based largely on social innovation, both in terms of organization management and relation with territorial development, it is an ideal context in which to explore the emergence of this new model. The paper describes three diverse examples of Platform Spaces based on multi-stakeholder cooperation mechanisms, arts and culture, and the engagement of local communities to not only ensure the accessibility of their activities but also to meet territorial development goals. With this analysis, the paper discusses a new conceptual framework that can be relevant both in theory and in practice, identifying policy recommendations to address territorial development approaches for Platform Spaces. [ABSTRACT FROM AUTHOR]

This paper examines how the discourse of creative industries is interpreted in the Canadian context with a case study of the Department of Canadian Heritage's Creative Canada policy framework. Based on textual analysis of policy documents from both federal and provincial governments, it analyzes the underlying dynamics of Creative Canada with pre-existing dialogues of Canadian cultural policies. The findings of this research indicate that this policy masterplan reinterprets traditional mandates of Canadian cultural policies, such as safeguarding the nation's cultural sovereignty and developing a distinctive Canadian value with market mechanisms. While Creative Canada is a major turning point in policymaking towards the commodification of culture and creativity, its schemes of valuing culture and the arts remain subject to the complexity of the nation's cultural politics that also shapes the market. [ABSTRACT FROM AUTHOR]

This paper argues that our fascination with creativity is distracting and potentially destructive, resulting in a tendency to discard projects and people before they achieve their potential. ‘Uncreativity’ is used to recognise the importance of continuity over change, the contribution of intermediaries and administrators to creative processes and the possibility of reconfiguring and refining existing ideas rather than inventing new ones. The paper argues that the ‘discourse’ of creativity prioritises novelty over value. This leads to an unsustainable emphasis on new ideas and initiatives in organisations. For individuals, it encourages an overemphasis on individual talent and relentless self-belief. This partial understanding of creative processes results in unrealistic expectations and self-destructive and self-exploiting behaviours. Uncreativity is proposed as a necessary element in creative processes for both organisations and individuals. Cultural policy and cultural management need to acknowledge the important contribution of these uncreative elements as well as simply endorsing ‘creativity’. [ABSTRACT FROM AUTHOR]

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Following earlier work looking at overall career difficulties and low economic rewards faced by graduates in creative disciplines, the paper takes a closer look into the different career patterns and economic performance of “Bohemian” graduates across different creative disciplines. While it is widely acknowledged in the literature that careers in the creative field tend to be unstructured, often relying on part-time work and low wages, our knowledge of how these characteristics differ across the creative industries and occupational sectors is very limited. The paper explores the different trajectory and career patterns experienced by graduates in different creative disciplinary fields and their ability to enter creative occupations. Data from the Higher Education Statistical Agency (HESA) are presented, articulating a complex picture of the reality of finding a creative occupation for creative graduates. While students of some disciplines struggle to find full-time work in the creative economy, for others full-time occupation is the norm. Geography plays a crucial role also in offering graduates opportunities in creative occupations and higher salaries. The findings are contextualised in the New Labour cultural policy framework and conclusions are drawn on whether the creative industries policy construct has hidden a very problematic reality of winners and losers in the creative economy. [ABSTRACT FROM AUTHOR]

This article argues that Nigeria has rich creative industry sectors with great potential and global footprints. Through the kaleidoscope of film, music and creative writing, the article critically appraises Nigeria's creative industries and contends that although the country is a visible player on the global landscape, it is yet to optimize the full potentiality of its creative industries sectors. The paper recommends that a clear mapping of the sector coupled with a coherent policy articulation and execution will enhance the viability of the creative industries. As the country seeks to diversify its economy away from dependency on oil revenues, the creative industries, based on their current economic value, provide a veritable incremental source of employment, revenue and growth. [ABSTRACT FROM AUTHOR]

This paper argues that notions of artistic vocation – the idea that artists receive a metaphysical calling to follow their path – can be understood as implicit cultural policies, among other functions deepening the connection between art and spirituality, as well as regulating gender access to creative production. The matter is addressed generally and with reference to two specific case-studies: the musical era of German Romanticism and contemporary Mexican indigenous groups of the Huasteca, both of which display reliance on narratives of vocation. Also, both cases – one historically remote, and the other removed from Western main-stream musical practices – are to act as mirrors to invite future discussions concerning the continuing cultural currency of ideas of vocation and their complex and subtle complicity in the perpetuation of arguably desirable (such as the promotion of creativity) and oppressive practices within the art world. [ABSTRACT FROM PUBLISHER]

This paper investigates how particular class-oriented, mediatised discourses about Blackpool Illuminations negatively stereotype the resort as ‘devoid of good taste’. Moreover, conventions of design-led regeneration reflect the dispositions of those members of the creative class who articulate abstract understandings about ‘good design’ and marginalise practices that do not conform to these aesthetics. With recent proposals to upgrade the Illuminations as part of broader regeneration strategies, the authors contend that these negative depictions ignore the situated expertise that undergirds the long-standing, overwhelmingly local production of the Illuminations and take no account of the cultural values regular visitors espouse in their positive evaluations. This paper argues that planners, designers and policy-makers need to take account of local, vernacular creativities and specific cultural practices in devising cultural policies in order to avoid homogeneous cultural provision and design. [ABSTRACT FROM AUTHOR]

This paper chronicles some of the key policies pertaining to the arts and culture in post-independent Singapore. A brief summary is first provided of the early (1960s and 1970s) cultural policy focusing on the harnessing of arts and culture for nation-building purposes, followed by the subsequent (1980s) recognition that the arts and culture had tourist dollar potential. The paper then expands on the cultural/creative economy policy of the 2000s, in which arts, heritage, media and design are recognized for their economic value (beyond their role in tourism to include their export value and their importance in attracting global workers). The paper then turns to the most recent policy attention paid to the social value of the arts and culture. The more broadly ‘cultural social policy’ direction emphasizes the value and integral place of the arts and culture in everyday lives. This is in part in recognition of the fact that for Singapore to be a truly global city, there must be a lively arts and culture scene and high levels of participation by residents. Finally, the promises and challenges that Singapore faces in its efforts to realize its ambitions as a global (cultural) city are discussed. [ABSTRACT FROM AUTHOR]

This paper is based on a keynote address for the 2010 Cultural Trends Conference “A Golden Age?”. It explores the rhetoric of “creativity” that dominated the New Labour government's cultural policy discourse, and argues that while the promotion of the creative industries and of the economic contribution of culture strengthened the hand of the Department for Culture, Media and Sport (DCMS) in attracting resources, there was a price to pay, in the form of auditing, that proved ultimately hostile to creativity. With its main focus on the English region, the paper reviews New Labour's institutional reforms and substantial investment in the cultural infrastructure, but argues that the competing claims of “access” and “excellence” remained unresolved, while policymakers failed to respond to the rapid technological developments in “unofficial” culture. [ABSTRACT FROM AUTHOR]

The paper presents a socio-political analysis of New Labour's rhetorical uses of the idea and values of creativity to shape cultural policy in England. It examines how the current idea of creativity in policy discussions has been politically reconceptualised as a means of responding to broader socio-political and economic agendas. The paper explores the extent to which the New Labour's social-market political paradigm has contributed to shaping and reshaping the government's creativity rhetoric. It is suggested that the English model of creativity in policy discourse is politically constructed rather than being based in the available literature and research associated with creativity in the fields of psychology and sociology. Drawing on these discussions, the paper suggests that there are five distinctive characteristics of the English model of creativity and offer a critical analysis about some underlying assumptions embedded in these rhetorical positions. [ABSTRACT FROM AUTHOR]

Despite a strong rhetoric of inclusion, both cultural and economic policies in the UK continue to reinforce the deep-seated belief that creativity is something (only) talented and artistic individuals do. This individualistic conception of creativity extends to the framing of the creative industries and the creative economy, where creativity is treated as either a quasi-commodity or the preserve of the so-called 'creative class'. This article suggests that at this time of economic, social and environmental 'melt-down', there is a need to re-claim creativity as a social phenomenon, often resulting from human interaction across boundaries (e.g. across nation states, professions, industries, organisations, disciplines, social and cultural groupings, methods, epistemologies and rationalities). The paper offers a bold agenda for re-qualifying the creative economy according to this fundamentally social conception, including how this can be achieved through the embedding of a new discipline of social creativity. [ABSTRACT FROM AUTHOR]

This paper argues that cultural policy and copyright law have paid insufficient attention to the rise of mini-creators, people who get inspiration from existing copyrighted works and add to them to create new expressions. With the various creative and distributive technologies available today, they attempt to recontextualize cultural products they consume and express themselves, but their activities tend to be on the borderline of copyright infringement. Examination of lawsuits related to video game modification in the USA and in Japan will show different judicial approaches to the spread of modification devices for users, but commonly reveal the failure of copyright law to come to terms with their activities. It is suggested that copyright law should recognize their creativity and contribution to the enrichment of culture. [ABSTRACT FROM AUTHOR]

This paper presents a historical review of the spectrum of views taken by students of creativity. The review centers on the notion of genius, which assumes that creative individuals make conceptual leaps far 'outside the box'. One modern variant of this view, the idea that creativity depends on on psychopathology, is discussed. This paper then considers the dominant view in psychology, which assumes that a group of cognitive and personality characteristics sets creative individuals apart, although we all possess these characteristics to varying degrees. Finally, the author examines the possibility that there are no differences in cognition or personality between creative and ordinary individuals. In this view, even the most radically new creative achievements are firmly built on the past, rather than being the result of rejection of the past. Evidence for this conceptualization of creativity is discussed and its implications for policy decisions are examined. [ABSTRACT FROM AUTHOR]

Since the birth of the 'creative industries' a decade ago, there has been a series of attempts to link the cultural sectors with innovation policy and to downplay the connection between them and traditional arts or cultural policy. The theory appears to be that innovation is where the big money is, and that the cultural sectors can only benefit by being rescued from the 'ghetto' of arts funding. This paper seeks to query this notion and to draw attention to some of the problems that have resulted and may result from it. [ABSTRACT FROM AUTHOR]

This article analyses the framing of creative agency within the field of international development before going on to challenge some of the limitations of that framing. The critique is informed by research undertaken with artist-led initiatives in Central America that reveals the political implications of that framing and, at the same time, points to alternative forms of creative agency at work. The paper highlights the approaches of a number of international development donors whose policies appear able to support more expansive and emancipatory conceptions of agency for artists and artist-led initiatives, and makes a claim for the political importance of such policy platforms, despite some on-going limitations. [ABSTRACT FROM AUTHOR]

In this paper, I draw attention to the complexities and confusions in the shift in discourse and praxis from “culture industry” to “cultural industries” and then “creative industries.” I examine how this “creative turn” is fraught with challenges, highlighting seven issues in particular: (i) the difficulties in defining and scoping the creative industries; (ii) the challenges in measuring the economic benefits creative industries bring; (iii) the risk that creative industries neglect genuine creativity/culture; (iv) the utopianization of “creative labour”; (v) the risk of valorizing and promoting external expertise over local small- and medium-scale enterprises in the building of “creative industries”; (vi) the danger of overblown expectations for creative industries to serve innovation and the economy, as well as culture and social equity; and (vii) the fallacy that “creative cities” can be designed. I suggest that the move towards creative industries discourse represents a theoretical backslide, and raise the possibility that a return to “cultural industries” would be more beneficial for clarifying our theoretical understanding of the cultural sectors and the creative work that they do, as well as enabling better policymaking. [ABSTRACT FROM PUBLISHER]

This paper distinguishes between creative labour as a universal human attribute and cultural work as specifically a meaning-making practice in order to offset the way in which that distinction has become blurred in recent cultural policy rhetoric. It discusses the enduring relevance of Marx's theory of alienation, the separation of conception and execution in the modern labour process and issues concerning individualism and collectivism. Institutional transformation of television is traced as an exemplary instance of the transition from organised to neoliberal capitalism. The consequences for cultural work of this transition are examined, and the concept of individualisation is used to illuminate the conditions of work at the present time for young entrants to the 'creative industries'. In conclusion, the urgent need for research on the sociology of occupational experience in the arts and culture today is stressed in order to rectify its neglect in cultural policy studies. [ABSTRACT FROM AUTHOR]

Sunley P., Pinch S. and Macmillen J. Growing design? Challenges and constraints facing design consultancies in three English city-regions, Regional Studies. There is some debate as to whether creative industries can thrive in second-tier industrial city-regions, as well as in leading global cities. This paper uses the results of firm interviews with design consultancies to examine their experiences in three industrial cities in the United Kingdom: Manchester; Newcastle, and Birmingham. It highlights the major constraints on growth in each city and it emphasizes the quantity and quality of demand, and the availability of skilled labour. It considers the effects of design and cultural policy initiatives and finds that most measures are perceived to have had only ambiguous and minor supportive impacts. [image omitted] Sunley P., Pinch S. et Macmillen J. Developper la conception? Les defis et les contraintes auxquels font face les cabinets-conseil en conception dans trois cites-regions d'Angleterre, Regional Studies. On a fait couler beaucoup d'encre sur la capacite des industries innovatrices de prosperer dans des cites-regions industrielles a deuxieme niveau, aussi bien que dans les grandes villes mondialisees de premier plan. Cet article se sert des resultats des interviews aupres des cabinets-conseil en conception afin d'examiner leurs experiences dans trois grandes villes industrielles au Royaume-Uni: a savoir, a Manchester, a Newcastle et a Birmingham. On met l'accent sur les principales contraintes a la croissance dans chaque grande ville et souligne la quantite et la qualite de la demande, et la disponibilite de la main-d'oeuvre qualifiee. On considere les effets des initiatives en faveur de la conception et de la politique culturelle. Il s'avere que la plupart des initiatives sont considerees n'avoir eu que des effets de soutien ambigus et mineurs. Conception Cabinets-conseil Cite-region Contraintes Politique Sunley P., Pinch S. und Macmillen J. Wachsendes Design? Herausforderungen und Hindernisse fur Designberatungsfirmen in drei englischen Stadtregionen, Regional Studies. Die Frage, ob kreative Branchen in industriellen Stadtregionen der zweiten Ebene ebenso gut gedeihen konnen wie in fuhrenden Weltstadten, wird kontrovers diskutiert. In diesem Beitrag untersuchen wir anhand der Ergebnisse von Interviews mit Designberatungsfirmen die Erfahrungen dieser Firmen in drei Industriestadten Grossbritanniens: Manchester, Newcastle und Birmingham. Wir verdeutlichen die wichtigsten Wachstumshindernisse in den jeweiligen Stadten unter besonderer Berucksichtigung der Quantitat und Qualitat der Nachfrage sowie der Verfugbarkeit von qualifizierten Arbeitskraften. Ebenso untersuchen wir die Auswirkungen von design- und kulturpolitischen Initiativen und stellen fest, dass die Auswirkungen der meisten Massnahmen als zweifelhaft und wenig hilfreich beurteilt werden. Design Beratung Stadtregion Beschrankungen Politik Sunley P., Pinch S. y Macmillen J. ¿Crecimiento del diseno? Retos y limitaciones de empresas consultoras de diseno en tres regiones metropolitanas de Inglaterra, Regional Studies. Se debate si las industrias creativas pueden prosperar en regiones metropolitanas industriales de segundo nivel tan bien como en metropolis lideres. En este articulo utilizamos los resultados de entrevistas con empresas consultoras de diseno para analizar sus experiencias en tres ciudades industriales del Reino Unido: Manchester, Newcastle y Birmingham. Destacamos cuales son los principales obstaculos para el crecimiento de cada ciudad y ponemos de relieve la cantidad y calidad de demanda y la disponibilidad de trabajadores cualificados. Tambien analizamos los efectos de las iniciativas politicas de diseno y cultura y constatamos que la mayoria de medidas han tenido solamente un efecto ambiguo y de poco apoyo. Diseno Empresa consultora Region metropolitana Limitaciones Politica [ABSTRACT FROM AUTHOR]

As Italy has always lacked national guidelines for contemporary arts, recent devolution policies have mainly centred on existing cultural heritage, leaving aside contemporary artistic production. Local and regional authorities, however, spontaneously launched initiatives to encourage contemporary creativity, putting in place a sort of de facto devolution. Only the recently created Youth Ministry has drafted the first national guidelines to promote contemporary arts. This begs a question as how these new national priorities will relate to projects which already exist at the local level. By offering an insight into the political, administrative and management challenges of this sort of de facto devolution by relying on the Giovani Artisti dell'Emilia-Romagna - GA/ER (Young Artists of Emilia-Romagna) case study, this paper suggests that the Ministry of Youth should build on existing initiatives and encourage a responsible management of existing local projects. [ABSTRACT FROM AUTHOR]

This paper draws on an archive of media texts that document the making of the film Out of the Blue. Within these media accounts are statements made by a group of residents resisting the film project, and the film-makers responding to this resistance. We employ a Foucauldian informed discourse analysis to read these statements of resistance as a starting point to examine the power relations within contemporary knowledge generation processes of creative industries. We theorise creative industries as a discursive object located at the intersection of three discursive formations: 'creativity', 'enterprise' and 'place'. Through analysing the particular place-identities of Aramoana engaged by the resisting residents and the film-makers, we are able to suggest how this film project came to be discursively constituted as creative enterprise. In so doing, we find that the resisting residents' statements work to disrupt the taken-for-granted 'goodness' of film enterprise, and creative industries more generally. [ABSTRACT FROM AUTHOR]

One consequence of the development of cultural policy has been a demand for more creative leadership in arts organisations. This article provides a case study of how leadership of the Australia Council changed from the 1970s to the beginning of the 21st century. It argues that changes to the way in which Australia Council chairs approached their role was shaped by, and contributed to, the trend towards constructing the arts as an industry. Part of this change sees the Australia Council subjected to aspects of reform, which were widely endorsed by the Australian public sector. The article identifies three styles of leadership exhibited by the chairs over the period: visionary, statesman and reformer, in three phases of the Council's history, It examines the political and social imperatives shaping these leadership styles. [ABSTRACT FROM AUTHOR]

This article situates the emergence of the “creative placemaking” policy initiative as the coordinated continuation of longstanding artistic practices and a reaction to scant funding in the United States. In contrast to creative class policies, creative placemaking proposes a broader set of outcomes, attempts to directly address issues of inequality, and expands the role of artists in society. However, these characteristics entail several challenges for stakeholders: difficulties in devising recognized outcome metrics due to the wide variety of projects; inadvertent reproduction of inequities; and limited opportunities for scaling due to inter-occupational competition. The article concludes with implications for future research. [ABSTRACT FROM PUBLISHER]

Performing traditional music in Vietnam presents for many a decisive way to establish oneself as part of history, part of the present and a strategist of future cultural function. In this article, I describe how musicians in southern Vietnam deploy the musical ruin, a sound object that has undergone devastating and alienating alteration against which a musician reacts in order to perform innovative music and educate others, in order to limit the development of and better sustain đờn ca tài tử, a genre of traditional music. The invocation of the musical ruin is not specific to the Vietnamese case but emerges as a creative impetus at particular historical moments to maintain one's voice in increasingly crowded spheres of musical practice. [ABSTRACT FROM AUTHOR]

This article examines cultural participation, its metrics and ‘drivers’ as they are defined through cultural programming for the London 2012 Olympics. The meanings and interpretation of these terms are considered by examining the development of an evaluation framework for the We Play programme in the North West of England, an initiative funded by Legacy Trust UK and part of the London 2012 Cultural Olympiad. It argues that in spite of the dissonance between arts and sports within Olympics programmes and claims of the deleterious impact on arts funding, particular within the regions, London 2012 has engendered creative programming which strategically deploys the Cultural Olympiad to satisfy local cultural policy objectives as well as meeting broader interests in ‘legacy’ from the Games. Such ambitions require the development of appropriate methodologies for understanding arts participation and engagement for the purpose of evaluation and evidence-based policy making, a particular challenge for such a complex range of activities, sites and settings for arts participation. [ABSTRACT FROM PUBLISHER]

This article first discusses the contemporary debate on cultural “creativity” and the economy. Second, it considers the current state of UK copyright law and how it relates to cultural work. Third, based on empirical research on British dancers and musicians, an analysis of precarious cultural work is presented. A major focus is how those who follow their art by way of “portfolio” work handle their rights in ways that diverge significantly from the current simplistic assumptions of law and cultural policy. Our conclusions underline the distance between present top-down conceptions of what drives production in the cultural field and the actual practice of dancers and musicians. [ABSTRACT FROM AUTHOR]

This article examines the conceptual referents of the term 'creative' as used in the terms 'creative industries', 'creative class' and 'creative city'. The way in which these conceptually divergent usages can be conflated, and the difficulties this poses for policy, is considered with a particular focus on the deployment of the term within the current 'Liverpool Cultural Strategy'. It is argued that both within and without the purview of this strategy, multiple aims for policy intervention are obscured by the use of this single term. It is also argued that this obfuscation is encouraged by a Floridian conception of creativity as a single, unified entity, but that the adoption of such a Floridian conception is not followed through to Florida's ultimate conclusions regarding the potential for the adoption of the creative agenda to exacerbate social problems. [ABSTRACT FROM AUTHOR]

The current debate on drivers and processes of creative industries in cities and regions oscillates between two approaches: one that focuses on individuals' creative talent drawing on Florida's work, and one that looks at firms and systems of firms, i.e., creative clusters. In this introductory note, we critically review the main contributions on both sides, argue that that there a need to reconcile them especially in order to shape the current policy discourse. [ABSTRACT FROM AUTHOR]

In light of the need to start clearing the methodological confusion in the field of arts management, this article provides a critical overview of the teaching curricula in the field. Distinction is made between programs that copy directly from business management; programs that focus on the technological process of producing an artwork (usually run by practitioners); those that interlink cultural management and cultural policy (highlighting the role of public governance as a higher principle); and programs that focus on an entrepreneurial approach to arts management, connecting it to issues of creativity and innovation. The author calls for clear goals to educate administrators and arts or cultural managers. The suggestion is made to follow what I call the Janus syndrome: looking toward managerial and economic realities but primarily focusing on the arts—the aesthetic and the social aspects of the field. A question is raised about the position of art in arts management curricula, as well as the organization of undergraduate and postgraduate studies in the field. [ABSTRACT FROM AUTHOR]

The author investigates social change in Vietnam in the late 1980s-2000s, a transition from a subsidized economy to a market-oriented economy. The author discusses the influences of socioeconomic changes on the operation of the performing arts sector through analyzing changes in cultural policies, opportunities, and challenges confronted by performing arts organizations. The new cultural policy allows arts organizations, arts managers, and artists more opportunities to develop a greater degree of autonomy and more freedom in performing, programming and other artistic activities. The author believes that open policies will motivate Vietnam to develop its own national identity and to participate in cultural exchange with other parts of the world. However, under the impact of global culture, global economics, cuts in state funding, and rapid technological development, the performing arts sector has faced challenges in terms of financial viability, audience development, and balance between commercialization and artistic creativity. The author suggests that privatization should be implemented depending on the art form. Consideration should be given by the Vietnamese government to implementing appropriate funding policies and schemes, as state funding still forms a significant part of public companies' incomes. [ABSTRACT FROM AUTHOR]

A brief examination of early childhood music education in South Africa, through an investigation of government documents and academic literature, leads to an impression that music is embraced in a broad framework of meeting young children's cultural and artistic needs. There is an overriding consciousness of the value of providing children with connections to their cultural heritage and instilling in them appreciation for one another's cultures and respect for diversity. More specific policy for each age level of early childhood in several governmental departments is needed to protect children's voices and to ensure not only that their musical heritage and artistic creativity are nourished and fostered but also that we listen to what they say through their music. [ABSTRACT FROM AUTHOR]

The article underscores the arts support system in Romania from 1990-2006. The author in this undertaking examines the arts support system in this country, scrutinizing whether the cultural policies during 1990-2006 have contributed to the growth of the arts sector, the independence of artists, and the improvement of artistic creativity. He argued that the institutional configurations and the collective mentalities that prevail the cultural sector and public policy have strongly affected the cultural policy in this country.

Explores arts policies in Australia. Information on the "Creative Nation" report, which focused on the cultural policies in country, published by the Department of Communication and the Arts in 1994; Concerns arising from the report raised by former chairman of the Council for the Arts Donald Horne; Increase in the use of the term creativity with references to artistic production and planning documents.

This article asks if China can develop a truly creative economy and follow the lead of South Korea, Japan, Hong Kong, Taiwan and Singapore. If the benefits flowing from the creative economy (and creative industries) are so strategic to government, we need to ask what impact this re-evaluation of creativity will have on a country often identified as having an overly regulated cultural sector. While there is ample evidence to support the idea of a dormant and often parasitic cultural sector, this article points to some areas where creativity is emerging as inputs into production, distribution and consumption. [ABSTRACT FROM AUTHOR]

Creativity is popularly related to innovation and new ideas. This invention-cognition view of creativity is too narrow a concept for artistic creativity. Artistic creation is also about reproducing traditions and emotional ("affective") processes. Widespread use of the popular invention-cognition view of creativity in arts advocacy obscures wider dimensions of artistic creativity. This article focuses attention on the affective dimension of artistic creation. It surveys "arts therapy" literature and investigates how lessons of this literature can be used to improve the persuasiveness of arts advocacy arguments that appeal to the concept of creativity. [ABSTRACT FROM AUTHOR]

The article reflects on the boundary definition of the cultural industries in Great Britain. It says that the decision of national governments and agencies to redefine boundaries have resulted to continuing public cultural policy and practice changes. It adds that redefinition of the arts, creativity and culture by the governments and political parties posed threat to cohesion, connectivity and interaction. In the view of the author, such obsession promotes isolationism between governments and agencies.