Boekman 105 Culturele koersen
Onder de titel Culturele koersen laat Boekman 105 de (soms) grote verschuivingen zien die in de culturele sector gaande zijn. Het zijn gemengde berichten van meer en minder aanbod, bezoek en consumptie. Tegenover de verschraling van het aanbod in kleine gemeenten en krimpregio staat bijvoorbeeld de nog steeds groeiende evenementisering en festivalisering. Boekman 105 ontwaart drie grote trends. De eerste trend raakt de infrastructuur, waarbij grote instellingen verder groeien en de middelgrote instellingen een wankel bestaan leiden en aangewezen zijn op de hulp van vrijwilligers. Podia, openbare bibliotheken, musea en festivals zouden niet zonder kunnen. Daarnaast is er een wassende stroom van zelfstandigen en (piep)kleine bedrijfjes wat versplintering tot gevolg heeft. De tweede trend betreft het aanbod en de participatie. Er is verschraling in de aangeboden kunstvormen en het aantal aanbiedende instellingen. De belangstelling van het publiek verschuift verder richting belevenis. Musea, films en festivals zijn populair. De derde trend heeft te maken met de impact van digitalisering en het internet, met name wat betreft distributie en marketing. Toegang tot culturele content via streaming is belangrijker dan bezit.
Boekman 104 Kunst als recept
Rene Kooyman Olaf Kuhlke Annick Schramme
Creating Cultural Capital
In recent years, the global creative economy has experienced unprecedented growth. Considerable research has been conducted to determine what exactly the creative economy is, what occupations are grouped together as such, and how it is to be measured. Organizations on various scales, from the United Nations to local governments, have released `creative` or `cultural` economy reports, developed policies for creative urban renewal, and directed attention to creative placemaking - the purposeful infusion of creative activity into specific urban environments.
Parallel to these research and policy interests, academic institutions and professional organizations have begun a serious discussion about training programs for future professionals in the creative and cultural industries. We now have entire colleges offering undergraduate and graduate programs, leading to degrees in arts management, arts entrepreneurship, cultural management, cultural entrepreneurship or cultural economics. And many professional organizations offer specialized training and certificates in cultural heritage, museums studies, entertainment and film.
In this book, we bring together over fifty scholars from across the globe to shed light on what we collectively call `cultural entrepreneurship` - the training of professionals for the creative industries who will be change agents and resourceful visionaries that organize cultural, financial, social and human capital, to generate revenue from a cultural and creative activity.
Part I of this volume begins with the observation that the creative industries - and the cultural entrepreneurship generated within them - are a global phenomenon. An increasingly mobile, international workforce is moving cultural goods and services across national boundaries at unprecedented rates. As a result, the education of cultural professionals engaged in global commerce has become equally internationalized.
Part II looks into the emergence of cultural entrepreneurship as a new academic discipline, and interrogates the theoretical foundations that inform the pedagogy and training for the creative industries. Design thinking, humanities, poetics, risk, strategy and the artist/entrepreneur dichotomy are at the heart of this discussion.
Part III showcases the design of cultural entrepreneurship curricula, and the pedagogies employed in teaching artists and culture industry specialists. Our authors examine pedagogy and curriculum at various scales and in national and international contexts, from the creation of entire new schools to undergraduate/graduate programs.
Part IV provides case studies that focus on industry- or sector-specific training, skills-based courses (information technology, social media, entrepreneurial competitions), and more.
Part V concludes the book with selected examples of practitioner training for the cultural industries, as it is offered outside of academia. In addition, this section provides examples of how professionals outside of academia have informed academic training and course work.
Readers will find conceptual frameworks for building new programs for the creative industries, examples of pedagogical approaches and skillsbased training that are based on research and student assessments, and concrete examples of program and course implementation.
Olaf Kuhlke (US) is the Associate Dean of the College of Liberal Arts at the University of Minnesota Duluth, where he also serves as an Associate Professor of Geography. His scholarly work focuses on the various scales of the geography of movement. He has conducted research on the ritualistic practices of walking, modern day parades and music festivals, the representation of landscapes in popular music, and also has an interest in international migration.
Dr. Annick Schramme (BE) is full professor and academic coordinator of the master in Cultural Management at the University of Antwerp (Faculty of Applied Economics). She is also Academic Director of the Competence Centre Creative Industries and the master class Creative Jumpers at the Antwerp Management School. Over the last years she published about creative industries, fashion management, cultural entrepreneurship, arts policy, international cultural policy and heritage management. Besides, she is member of several boards of cultural organizations and governemental advisory committees in Flanders and the Netherlands. Since 2013 she is a member of the Arts Council in the Netherlands and that year she became also the president of ENCATC, the European Network on Cultural Management and Policy Education.
Rene Kooyman graduated with a major in Urban and Regional Planning. He received a DEA (Diplôme Educations Approfondies) in Economics and Social Sciences at the University of Geneva, Switzerland. He has been Project Manager for the EU EACEA Research Project on the Entrepreneurial Dimensions of Cultural and Creative Industries, and responsible for the EU INTERREG Creative Urban Renewal Project (CURE). At the moment he is an Associated Fellow at the United Nations Institute of Training and Research (UNITAR) in Geneva.
Boekman 103 Wie geeft er aan cultuur?
Fashion and the city
the role of the `cultural economy` in the development strategies of three Western European cities
The field of culture is increasingly seen as a strategic asset in/for a balanced development of cities. Recent research, however, seems to point to a limited recognition of this potential in local policy-making, culture becoming increasingly linked to aims of economic repositioning.
Art, Culture and Enterprise
The Politics of Art and the Cultural Industries
Understanding Art Markets
Inside the World of Art and Business
Artifacts and Allegiances
How Museums Put the Nation and the World on Display
Takes us around the world to tell the compelling story of how museums today are making sense of immigration and globalization. This book provides a close-up view of how different kinds of institutions balance nationalism and cosmopolitanism.
Text in English