ABSTRACTS - International Conference on Social Theory, Politics

ABSTRACTS
PARALLEL PAPER SESSIONS 1
Assistant Professor WoongJo Chang
Associate Professor Shin-Eui Park
Arts Leadership / Seattle University
Portfolio Careers in Arts Management: From Arts
Managers to Arts Entrepreneurs
The 21st century witnessed the advent of the horizontal labor market, where freelancers, oneperson businesses, and small arts organizations emerged as a significant body across the
creative sector. In this horizontal market, the portfolio career offers an alternative for arts
management students to think about their careers. As the field of arts management matures and
more arts management programs are established in universities, there is concern that the
market for traditional jobs in arts management such as in museums, orchestra, theatre, or other
large arts organizations, is saturated. However, most of the current arts management programs
do not properly reflect the shift in the job market, and their graduates lack opportunities to
cultivate their creativity and entrepreneurship and are not encouraged to launch their own
innovative arts business. Through in-depth interviews and focus group investigations with
educators and practitioners in the field of arts management, we examine the shift in the creative
sector from single-career lines in large arts organizations to portfolio careers in the horizontal
labor market. Then we identify the categorization of the job types that can be part of portfolio
careers for future arts management graduates in order for them to become successful arts
entrepreneurs.
Biography
Woong Jo Chang is Assistant Professor of the Arts Leadership Program in Seattle University,
Seattle, USA. He studied performing arts in Seoul National University and earned a PhD in
Cultural Policy and Arts Administration from the Ohio State University. His research is focused
on entrepreneurial practices and uses of IT especially in small arts organizations. His recent
works appeared in several books and journals, including Pioneering Minds Worldwide and
Journal of Arts Management, Law and Society.
Shin-Eui Park is Associate Professor of Arts and Cultural Management Department in the
Graduate School of Business Administration at Kyung Hee University, Seoul, Korea. She is also an
art critic, art historian, director of the Center for Arts & Cultural Management, and former
president of the Korean Society of Arts & Cultural Management. Park studied art history at Paris
Sorbonne University (Paris IV) and earned her PhD in Cultural Management at Inha University.
She has been working in the field of contemporary art, arts management, and cultural policy
since 1988 and has published a number of books and articles in the fields of creative city,
cultural policy, museum management, and media art.
Associate Professor Linda Leung
UTS Business School, Management Discipline Group
University of Technology Sydney
The Creative Other: marginalisation of and from the
creative industries
The creative industries - in government, industry and policy lexicon - have been identified as
those sectors that add value to other sectors. Despite that these industries are engines of
culture; much attention has been diverted to what they contribute to national Gross Domestic
Product through the work of ‘embedded creatives’. Recent studies have emphasised the
value of the creative industries in terms of their service to the 'non-creative' sectors. In other
words, the creative industries are being redefined and reframed in relation to others.
This positioning of the creative as a set of industries in service to others sets up a hierarchical
relationship between it and other sectors, not unlike Edward Said’s notions of the Oriental
Other. The purpose of the creative industries is to strengthen the ‘non-creative’, just as the
role of the Orient was to help forge an identity for the West. The former is the exotic entity that
exists relative to the latter, just as the idiosyncrasies and eccentricities of creative practice are
considered essential to making businesses’ value propositions unique and diverse.
In a collaborative economy, creativity is represented as key to a business’ capacity to adapt and
innovate. While creativity is identified as a distinguishing factor, it is less often defined as
something in and of itself, than as embodied in occupations and skillsets. That is, it is depicted as
ways of thinking that are ‘outside of the square’ that are part and parcel of the work of the
creative professional in giving a business competitive advantage. The ability of creatives to help
business think and manoeuvre laterally and ‘disruptively’ is regarded as crucial.
Although the ‘outsider thinking’ of the creative is embraced, it is debatable whether those
who are traditionally identified as Outsiders, Outliers or Other are well represented in the
creative industries. If creativity is articulated in terms of tangential skills and ways of thinking,
can it also be understood through dispositions and identities that have formed from
marginalisation? Beyond ways of thinking, can creativity be defined as ways of being that result
from non-mainstream experiences?
The criticism that the creative industries lack diversity is not new. There is a happy acceptance,
even celebration, of the breadth of those industries. But sectorial diversity masks the particular
class, gender and ethnic biases that exist within the design and visual arts industries; music and
the performing arts; print, broadcast and digital media industries; architecture, advertising and
marketing. The labour force profiles of each of these fields have been examined to varying
degrees over time, but their unevenness has not been interrogated in light of the creative
industries' subordinate position as a service sector. What is interesting is that where particular
groups such as ethnic minorities, women and the working class have historically occupied roles
in service to industries controlled by white, male, middle class constituencies; the creative
industries now consist of those who are socio-economically advantaged enough to withstand its
precarious conditions of labour, only to find themselves in servitude to the 'non-creative'
industries.
This paper revisits, through a review of literature, the arguments made about the underrepresentation of Other groups and identities in various industries and how this adversely
impacts the creative output of those sectors. The position put forward is that a lack of diversity in
the labour force equates to a dearth of different ideas, practices, cultures and processes entering
an organisation: the critical ingredients necessary for creativity and innovation. The highlighting
of difference as core to creativity poses some difficult questions: how creative can the creative
industries be without those that understand Otherness through their lived experiences? What
are the specific conditions that are blocking entry to the creative industries for minority groups?
How are Other communities speaking to this exclusion?
The paper analyses the work of Lee and Low Books, a publishing company that has conducted
its own research into the diversity gap in the creative industries in the United States. In addition
to comparing their findings with academic studies from other countries, the paper will examine
how Lee and Low Books are holding a critical mirror up to the creative industries from within, by
asserting their Otherness as a creative organisation.
Biography
Linda Leung is Associate Professor in Arts, Cultural and Digital Creative Industries. In her current
role, she teaches postgraduate students working in the creative and cultural industries on the
Master of Management. Aimed at those who have trained in these sectors but are moving into
management positions, the program brings together a diverse range of people from publiclyfunded visual and performing arts institutions, small commercial creative organisations, as well
as tech start-ups and microbusinesses. Graduating students work at the forefront of the
Experience Economy, leading the way in designing innovative cultural / creative products and
services which are accessible to all.
Linda is currently working on her third book Technologies of Refuge: Rethinking Digital Divides,
which is a culmination of her research on the design of available, accessible and affordable
technology products and services for marginalised communities such as refugees. Her second
book, Digital Experience Design: Ideas, Industries, Interaction (Intellect Books) chronicles the
diverse backgrounds of practitioners in the dot.com world, and subsequently, the theories,
ideas, models and frameworks they bring and apply to the design of technologically mediated
experiences. Her first book, Virtual Ethnicity: Race, Resistance & the World Wide Web (published
by Ashgate) is concerned with how technology is appropriated by those with limited access to it,
as well as the problems and possibilities which arise when technology is made available to
minority groups. It draws from the disciplines of technology studies, media/communication
studies, and anthropology/cultural studies. This cross-disciplinary approach also informs her
teaching and research on digital creative industries, project management processes and
practices, and user experience design.
Amy Bagshaw
Independent Researcher
Risk Management in Live Performance: A new
perspective on breaking a leg!
Risk has become so embedded in our daily lives, from helicopter parenting to insuring ourselves
against foreseeable damages, but rarely do we reflect upon the impact of contingency against
risk. This presentation explores the impact of risk management on tensions between creativity
and commerce in the Australian Live Performance sector of the Cultural Industries. The research
will focus on the past 15 years of risk management frameworks and how Australia’s Public
Liability Insurance Crisis in 2000-2002 has influenced this. With recent changes in public funding
structures, workers and companies in the Australian Live Performance sector are questioning
their sustainability in the Cultural Industries and wondering where the capacity for creative risk
has gone.
Biography
Amy is a freelance Stage and Production Manager working across Festivals and Performing Arts
and is due to complete the Master of Cultural Economy at Monash University at the end of 2015.
Having worked for many of Melbourne's leading Arts and Cultural Festivals, Amy's breadth of
experience and expertise has been demonstrated through her work with numerous performance
companies including MTC, Victoria Opera, NICA and Opal Vapour. Amy is an accomplished
cellist and double bassist, radio producer/presenter and arts reviewer. In her sound design work,
she works with the audience experience in mind and has been experimenting with binaural
sound.
Assistant Professor Dagmar Abfalter
Department of Cultural Management and Cultural Science, University of Music and
Performing Arts Vienna, Austria
Associate Professor Martin Piber
Department of Organization and Learning, University of Innsbruck, Austria
Strategizing Cultural Clusters: Long-range Sociopolitical Plans or Emergent Strategy Development?
In many cities cultural and creative clusters or quarters have been at the beginning or a result of
urban development. Their characteristics as networks of arts institutions of different genres,
structures, hierarchies, temporal and spatial forms, size etc. render them rich examples for
strategic analysis. In the present case, we use the MuseumsQuartier (MQ) Vienna as an example
of a cultural cluster within a historic city center. The research interest of this contribution is
twofold: On the one hand we will draw conclusions about the organizational, institutional and
socio-political impact of more or less detailed strategic frames of the overarching organizational
construction and the individual cultural organizations. On the other hand we will enhance the
understanding of strategy-making processes in cultural clusters with reference to the overall
political frame and the strategy-as-practice approach.
Biography
Dagmar Abfalter is Assistant Professor at the Department of Cultural Management and Cultural
Science (IKM) at the University of Music and Performing Arts Vienna. Her major research areas
include leadership in creative and expert environments, experience innovation as well as other
domains of intersection between business and the arts.
Martin Piber is Associated Professor at the Department of Organization and Learning at the
Universität Innsbruck, Austria. His research and publications focus on the management and the
governance of cultural organizations, the practices and theory of management control,
performance measurement, aesthetics, business ethics, and the relevance of culture for society.
Adjunct Professor Ji Yean Kim
Dong-Ah Institute of Media and Arts
Who are gatekeepers to foreign pop musicians in the
U.S. music industry?
The U.S. music market is a lucrative market for many foreign musicians due to its sheer size and
it continues to play a leading role in the world music industry. However, it is a challenge to gain
entry into that market and an even greater challenge to achieve success and fame within it. In
fact, changes in the media paradigm have allowed for musicians to be able to independently
produce their own songs and promote them globally. Some scholars address that paradigm
shift in the media moving from traditional outlets to new outlets gives artists a chance to bypass
traditional gatekeepers when entering the U.S. music market.
Based on this scenario, this article examined two songs from Korean singer, Psy: Gangnam Style
and Gentleman as a single case study. Utilizing Google Trends as a source of information, this
study examined how each song’s recognition among American music fans was different based
on radio spins on Top 40 commercial radio stations. This article sheds new light on radio, which
has been neglected due to the media paradigm shift, and presents how radio programmers are
part of a complicated gatekeeping process which ultimately decides which songs are to gain
popularity (This study is part of a PhD dissertation).
Biography
I received a B.A. in Communication Studies from the University of Iowa and a M.A in Arts
Management from George Mason University. I earned a PhD in the Interdisciplinary Program in
the Study of Arts from Sungkyunkwan University in Korea.
I have work experience in event organizing and have worked extensively in the media industry.
One of the biggest events which I organized was the YG Family 10th Anniversary concert which
took place at Madison Square Garden Theatre in New York and at DAR Constitution Hall in
Washington D.C.
My professional experience in the United States and my interest in the arts inspired me take a
position as an adjunct professor at Dong-Ah Institute of Media and Arts in Korea.
Associate Professor Patricia Dewey Lambert
Director, Arts and Administration Program
University of Oregon
Managing Performing Arts Centers in America's Cities
Performing arts centers (PACs) are an integral element of the arts and culture sector,
contributing significantly to the cultural and economic vitality of communities around the world.
Omnipresent PACs serve as pillar cultural facilities in American cities of all population sizes and
locations, providing cultural value, economic value, and social value. However, extant research
on urban PACs is scant: little is understood about their role in cultural planning and
development, their complex forms of ownership and governance, their responsibility to facilitate
urban cultural vitality, and their sustainable operational systems. This conference paper will:
introduce the community context within which urban performing arts centers operate in the
United States; address the role of PACs in cultural districts and cultural economies; present a
comparative typology of PAC institutional structures; critically analyze the governance forms,
organizational structures, functions, and operations of urban performing arts centers; and
profile knowledge areas, competencies, and skills required of PAC managers. Research methods
leading to this paper include a comprehensive literature review, case study analyses, survey
research methods, and key informant interviews. This STP&A 2015 paper proposal is based on
an edited book manuscript currently in development; the paper will conclude by briefly
introducing the book project.
Biography
Patricia Dewey Lambert, PhD is associate professor and director of the Arts and Administration
Program at the University of Oregon, where she also directs the UO Center for Community Arts
and Cultural Policy and serves as PI of the Oregon Arts in Healthcare Research Consortium.
Lambert’s main research interest areas include international cultural policy (especially Europe,
Canada, and the United States), urban/regional cultural planning and development, performing
arts center policy and management, arts in healthcare management, arts administration
education, and internationalizing higher education. She is editor of Managing Arts Programs in
Healthcare (in press, Routledge), and is currently authoring a book manuscript on the
international organization called the Pacific Northwest Economic Region as well as co-editing a
book on urban performing arts center management. Patricia Dewey Lambert has published
articles in Arts & Health, Higher Education, the International Journal of Arts Management, the
International Journal of Cultural Policy, the Journal of Arts Management, Law, and Society, and
Studies in Art Education. She holds a bachelor’s degree in vocal performance from Indiana
University, master’s degrees in international business (Vienna) and arts management
(Salzburg), and a PhD in arts policy and administration from The Ohio State University.
Professor Martin Tröndle
Zeppelin University, Friedrichshafen, Germany
Professor Wolfgang Tschacher
University Hospital of Psychiatry and Psychotherapy, University of Bern, Switzerland
Art Affinity Influences Art Reception (in the Eye of the
Beholder)
It is widely assumed that one does only experience and appreciate what one knows. This
becomes evident when overviewing studies on the interplay of art expertise and art reception.
Many authors may state that art is only experienced through knowledge, yet several other
authors did not find such links. All in all, many questions concerning the influence of art
expertise on art reception and appreciation have remained unanswered, although this is a major
topic in empirical aesthetics and art sociology. We therefore empirically tested the significance
of art affinity in a large population of common museum visitors, based on the newly developed
scale Art Affinity Index. Using different types of data (entrance surveys, exit surveys,
physiological and locomotion recordings), we firstly found that art affinity influences visitors'
aesthetic expectations prior to the museum visit, but is clearly less predictive of their actual
experiences, physiological reactions and spatial behavior in the museum. Secondly, in visitors
with high art affinity we found marked discrepancies between self-assessments before and
actual experiences during the museum visits. We may conclude that art affinity does have an
influence on art reception at large, yet this linkage is not as close as assumed in the literature.
The impact of art affinity on the experience and appreciation of art is more in the eye of the
beholder because art affinity affects more visitors' attitudes towards art than their actual
experiences or behavior.
Associate Professor Serge Poisson d’Haro
Alexandre Myard
HEC Montreal
Paths to Cooperation: The cases of Montreal based
Cultural Organizations
The purpose of this paper is to pursue an in-depth analysis of the coopetitive practices
performed by non-profit cultural institutions. These institutions compete with each other to
attract audiences, curators, artistic directors as well as work of arts, artists, subsidies and private
and corporate funding. However, there are cases of cooperative practices between these
institutions. This paper inquiries the reliance on coopetitive strategies by cultural organizations
for guaranteeing their survival considering their challenges (public recognition, financial
stability, audience loyalty and rejuvenation, social networks, etc.). This paper attempts to address
the following issues: reasons for competitors to work together, levels of the value chain at which
they work together, and finally how they implement the collaborations and what are the
outcomes. In order to understand these processes, it requires an understanding of the intrinsic
paradoxical dimensions that characterized coopetition and the implication of such paradoxes on
managers’ cognitive abilities in charge of the collaborative practices. Based on interviewees
with managers from four cultural organizations (two museums, one festival and one orchestra),
we analyze interactions within two sets of organizations. This paper provides a typology of
coopetitive practices within the non-profit cultural sector.
Biography
Dr Serge Poisson-de Haro is an Associate Professor at HEC Montréal. His research interests are
primarily in the area of strategy related to artistic organizations or sustainable development. He
presented papers at leading conferences such as the Academy of Management, STPA, AIMAC,
EABIS and other. He was a finalist for the William H. Newman at the Academy of Management.
His publications appeared in the Journal of World Business, International Journal of Arts
Management, Journal of Arts Management Law and Society, Journal of Management
Development, Journal of Business Ethics Education, Gestion, and Revue Française de Gestion. He
recently published a book "Strategic management in artistic organizations" (JFD Editions). He
has a book chapter in When Business Meets Culture (Palgrave Macmillan). He has also authored
and published numerous teaching cases on artistic organizations in the peer reviewed
International Journal of Case Studies. Serge teaches various courses of Strategic Management at
the graduate level at the MBA and the Master in Management of Cultural Enterprises. He is a
hiker, skier, and biker and enjoys attending a range of performing arts events.
Alexandre Myard has recently earned a Masters degree in administration (HEC Montréal). His
main fields of interests are collaboration between competitive organizations and international
affairs. He is currently working as a research assistant at HEC Montréal and aims to work as a
consultant (strategic planning, market analysis, competitive analysis).
Dr Sandra Painbéni
Professor of Marketing, European Business School Paris
Wine as a Cultural Heritage of France: Perception and
Consumption of French Wines among the Chinese
population
In 2014, French Senators unanimously recognized wine as part of national heritage: « wine, the
product of the vine, and its terroirs are part of the protected cultural and gastronomic heritage
of France » (Sec. L. 665-6).
This recognition gives a stronger added value to French wines in international markets,
especially in China. Globally, most Chinese people appreciate "Made in France" products and
have a growing interest for French wines. However, most wines consumed in Mainland China are
local wines. Limited academic research in Management and Art Management has been
conducted on this topic. Consequently, our research highlights how French winemakers can
adapt their strategies to promote their wines in this market.
Our methodological approach was three-fold:

Desk research;

Observation of Chinese wine consumers in wine shops and other places dedicated to
wine consumption;

Qualitative interviews with wine experts in Mainland China and Hong Kong.
Our findings reveal best practices implemented by wine professionals and include industry
implications as we suggest recommendations to winemakers in order to adapt their strategies to
the specificities of the Chinese culture.
Biography
Dr Sandra Painbéni is Professor of Marketing and Research Coordinator in the Marketing
Department at the European Business School (EBS) Paris, France. Her research interests include
marketing in arts & culture as well as marketing & strategy within the wine industry. She has
both teaching and marketing consultancy experience.
Anthony Peluso
Community Engagement Director, Country Arts SA
Where art meets community
The intersection between arts, culture and community is an ongoing area of exploration for
Country Arts SA. The organisation works in regional South Australia to create sustainable, long
term programs which build a sustainable legacy of arts rich communities, realising cultural
aspirations through artistic exchange and enabling more great art.
Since 2008 the Regional Centre of Culture, Change and Adaptation, Cultural Places programs
and Key Producer status have instigated a radical shift in our delivery of arts programs, resulting
in a multi-faceted, multi-artform, active engagement approach through which focus regions and
themes, residencies and an examination of our program delivery has identified three modes of
practice:
•
Producer (working with artists to make great art)
•
Presenter (selecting great art to show)
•
Enabler (engaging with communities to make great art)
This allows a community and its artists to enter the cycle at a point that corresponds with their
skill level and interests, whether through professional art making, passive exposure to great art,
or deep engagement.
A shared approach with partners in health, environment and local government organisations is
the way arts and culture can have a profound, transformative and lasting impact for
communities.
Biography
Anthony Peluso is the Community Engagement Director at Country Arts SA overseeing the
organisation’s arts programs – Cultural Development, Artform Development and Arts Centres.
With the CEO, he strengthens the network of stakeholders and partners which support the
organisation’s activities in regional South Australia. He joined the organisation in 2008 as the
Executive Producer, Performing Arts.
Anthony has undertaken a number of roles including as SA Manager Musica Viva Australia;
Music Program Manager, Adelaide Festival of Arts; and at the Adelaide Symphony Orchestra and
Fanfare Artist Management and managed a number of chamber ensembles.
From 2003 - 2007 as Manager, Artistic Planning for the Tasmanian Symphony Orchestra, he
helped initiate activities such as the Australian Music Program, an annual Sydney Season and the
2005 tour to Japan.
An Jiun
SungKyunKwan University
Professor Joon Han
Yonsei University
Hallyu Phenomenon in North Korea: Research centred
on North Korean Adolescent Refugees
This research investigates the inflow of market economy in North Korea and the subsequent
changes in cultural preferences. The interview was conducted among adolescent defectors from
HamKyungBukdo region. Increase in number of illegal emigration and smuggling due to severe
poverty and the lack of domestic goods in North Korea led to introduction of capital market.
People lost trust towards the government after the currency reform in 2009 and as the result,
foreign currencies became available in regions close to China such as HamKyungBukdo. From
cultural economic view, the influx of foreign electronic devices such as CDs, DVDs, computers
and USB affected popular culture. The government lost the control over prohibition in 2012.
This study explains multicultural capital based on Bourdieu cultural capital theory. Two
participatory observations and one focus group discussion took place with 6 adolescent
defectors from HamKyungBukdo. The interviewees used to have economic capital accumulated
by their parents. Their academic environment and the changes in culture allowed them to
formulate their own cultural ‘taste’. They had high education experience and an access to
cultural opportunities back in North Korea. They were able to create “cultural omnivores” in
South Korea based on the paradigm explained by the grounded theory
Assistant Professor Scott Brook
University of Canberra
Practical economies of cultural work
This paper proposes that growth in the field of cultural work is a consequence of increased
competition for skilled jobs. It argues that researchers must move beyond their scepticism about
the claims for the rising significance of creativity as an economic input in the context of a
knowledge society, and consider the widespread labour market trends that have emerged
during the period in which such policy-making has prevailed, such as the phenomena of
‘overeducation’ and decline in demand for intermediate skilled work (i.e. the ‘hourglass
economy’). Drawing on the simple observation that cultural work is first and foremost a form of
investment in the self, it proposes that participation in the field of cultural production has
expanded during this period as it provides a practical resource for remedying the effects of, as
well as augmenting, increased competition for skilled jobs. Such an approach permits creative
labour studies to look beyond the auteurist thesis on motivations for cultural work in favour of
the practical economy that subtends this value position; and to broaden the object of study
beyond a focus on cultural industries employment to the field of creative vocations.
Biography
Scott Brook is Assistant Professor and full time researcher at the Centre for Creative and Cultural
Research, University of Canberra. He currently Chief Investigator on the ARC Discovery Project
'Working the Field: creative graduates in Australia and China', a major Bourdieusian study of
cultural sector work, and is currently collaborating with Roberta Comunian and others on
developing a comparative quantitative study of graduate outcomes in Australia’s Cultural and
Creative Industries. Recent writing appears in The Routledge Companion to the Cultural
Industries, edited by J. O’Connor and K. Oakley (2015), International Journal of Cultural Policy
(forthcoming 2015), Australian Humanities Review (March 2015) and Meanjin (March 2015).
Dr Shuang Ren
Lecturer, Department of Management, Deakin University
Professor Ying Zhu
Director, Australian Centre for Asian Business, University of South Australia
Candle in the Wind: Arts and Cultural Leadership in
China
The consideration of contextual influences and the underlying leadership behaviour and
effectiveness has increasingly been advocated in order to advance leadership research. Using an
ethnographic indigenous approach, this study explores leadership in the arts and cultural sector
and the manner in which it is influenced by the joint effects of different layers of individual,
organizational and societal transformation. The findings enrich the literature with an in-depth
understanding of how individual, organizational and social influences impact on the
organizational role and leadership behaviours within the process of market-oriented economic
reform. The study provides insights into the practice of arts and cultural leadership socially
constructed within a context of drastic change and uncertainty. It also sheds lights on
meaningful avenues for future research on leadership in general, as well as arts and cultural
leadership in specific.
Biography
Professor Ying Zhu is the Director of the Australia Centre for Asian Business at the University of
South Australia - which aims to broaden the Australian understanding of the diverse Asian
business environment - and views the study of Asian business and management as an issue of
international importance given the significance of these economies to international trading
relations and economic prosperity.
Professor Zhu holds a Bachelor of International Economics from Peking University and a PhD
from the University of Melbourne. He has worked as an economist at Shenzhen Special
Economic Zone in China, been the Director of the Master of Human Resource Management
program at the University of Melbourne and held visiting scholar positions at the University of
Cambridge, the World Bank, and the International Labour Organization (ILO) in Geneva. He is a
member of the Academy of Management (AoM), the Academy of International Business (AIB),
and the International Labour and Employment Relations Association (ILERA).
In 2001 Professor Zhu received the Award for Excellent Foreign Scholar from the Japanese
Society for the Promotion of Science (JSPS). In 2010 he received the Award for Excellent Post
Graduate Teaching from the University of Melbourne, and in 2013 received the Achievement in
Research Excellence Award (Established Career Researcher) from UniSA. He is a member of the
Editorial Board for the Asia Pacific Business Review and a member of the Editorial Review Board
for the Journal of General Management.
Professor Zhu draws on his business expertise, bilingual language capabilities and strong
industry links to assist organisations to develop business synergies with their Asian counterparts.
Currently, Professor Zhu leads a range of projects, including an Australian Research Council
(ARC) Discovery Project on labour market segmentation and inequality in China, a Group
Mission Project funded by the Australia-China Science Research Fund (ACSRF) on community
development in Australia and China, and an Australia-Malaysia Institute funded project on the
impacts of information communication technology (ICT) on community development in
Australia and Malaysia.
Aleksandra Wiśniewska
Mikołaj Czajkowski
PhD student, Faculty of Economic Sciences, University of Warsaw, Poland
Utilizing the Discrete Choice Experiment Approach for
Designing a Socially Efficient Cultural Policy: The case
of municipal theaters in Warsaw
While public support for culture, and performing arts in particular has become a less self-evident
privilege all over Europe than in the past, the economic evidence for benefits a society gains
from those goods has become essential for both of the following: scientific research in the area
of cultural economics and cultural policy. Although the non-market valuation has been
employed as a tool for measuring social benefits generated by cultural resources, the budget
constraint has not been considered in most studies regarding the performing arts. Due to that
constraint, the crucial question that decision-makers have to answer is then not “whether to
finance” or “how big the support should be”, but rather “how to allocate scarce resources”.
The aim of our study is to investigate socially preferred ways of allocating public resources in the
context of the types of performances offered by municipal theaters in Warsaw. The problem
investigated is a current issue for local policy-making, but in a broader sense, it illustrates how
state-of-the-art stated preference methods could be employed to support cultural policy. We
find that inhabitants of Warsaw assign positive value to the broader accessibility of municipal
theaters, and their willingness to pay for making the theaters a truly public good (by introducing
a program of highly discounted tickets) exceeds the costs of such a policy. However, we also find
that the cost-benefit relationship varies across theaters with different types of plays in their
repertories. Our results imply a different level of socially efficient support for experimental,
drama, children’s and entertainment theaters.
Biography
Aleksandra Wiśniewska – PhD candidate at the Faculty of Economic Sciences, University of
Warsaw, Poland. Graduated (MA) in economics and cultural anthropology at the University of
Warsaw. Principle researcher in project ‘Non-market valuation of cultural goods: the case of
performing arts’ financed by National Scientific Centre. Collaborator of main cultural and
theatrical institutions in Poland (Theatre Institute, National Centre for Culture). Main areas of
expertise: cultural economics, economics of non-market/public goods, social economy.
Practitioner, executive producer in Teatr Studio, municipal theater in Warsaw.
Steve Mayhew
Creative Producer Performance Development, Country Arts SA
Jamie Harding
Artistic Director of Ovation Centre of Performing Arts and Gener8
Larissa McGowan
Choreographer, Dancer
Tammy Hall
Audience Development Coordinator, Country Arts SA
What does it take to get an audience engaged?
Attracting the attention of potential audiences and holding their gaze long enough to convince
them to attend the next great show is no longer as fruitful as it once was. Country Arts SA is
exploring meaningful ways to bring regional communities closer to arts and culture. Our
programs respond to demand from audiences who want to experience their theatre going and
art making in new ways.
Since 2012, we have developed multi-level engagement experiences for regional audiences
which incorporate skills development workshops, interactive audience experiences that
contribute to the development and creation of work, and explorative opportunities where
conversation and exchanges between artists and curious audiences builds deeper connections
with art.
CONNECT encourages exploration between artists and audience about work in our programs,
digging deeper behind the scenes to build a greater understanding of visual arts and
performing arts practices.
DANCEXTEND encourages audiences for contemporary dance. Over two years two regions
participate in workshops, explore movement making and access multiple internationally
acclaimed works by professional dance companies.
INTERACTIVE THEATRE and innovative participation is activated with programming choices that
require audiences to take roles which make the work unique. These also offer skills training and
illuminate pathways for community members who work alongside professional artists to tell
stories, make theatre, present work and share the stage or screen.
Biography
CHAIR: Steve Mayhew
A graduate of the Drama Centre at Flinders University, Steve Mayhew has worked as a director,
dramaturg, writer, creative producer or general manager of companies and festivals including
Urban Myth, Riverland Youth Theatre, Junction Theatre, Brink Productions, Adelaide Cabaret
Festival, Adelaide Fringe, Hong Kong Fringe Club and Restless Dance Theatre. He was also the
Artistic Director of the 2012 Regional Arts Australia Conference held in Goolwa, South Australia.
Jamie Harding works as a Director, Actor and Theatre Maker. Jamie graduated from the Flinders
University Drama Centre in 2006, and then spent the next nine years as a leading actor in
television, theatre and radio nationally and internationally. He has worked for the National
Institute of Dramatic Art and also (ATYP) - The Australian Theatre for young People. From early
in his career he was attracted to the creation of new performance and from 2011 committed
himself exclusively to the conception, construction and performance of his own work with a
focus on making strong respectful work for young audiences. Jamie worked as a key creative on
the Innovative Ruby Award winning hybrid theatre work Color Darker Than Black and copresented new interactive work Bingo Unit as part of Country Arts SA’s 2014 season. He
currently has three new works in development Everyone is Young and Famous Already working
with esteemed international cabaret artist Trevor Ashley and Cold As…, with one of Australia’s
most awarded playwrights Patricia Cornelius and Selfie # Me with internationally renowned
children’s playwright Finegan Kruckemeyer. Jamie’s work in regional areas in particular the
Limestone Coast has been broad and long-lasting. He work’s across the spectrum of the arts in
management, the development of new theatre based works as a director and producer.
Born in Brisbane, Larissa McGowan began her dance training at the Queensland Dance School of
Excellence (QDSE), where she won the Queensland Ballet Scholarship to the Victorian College of
the Arts (VCA), as well as the prize for 'Most Outstanding Dancer’. In her graduating year at
VCA, Larissa won the award for 'Most Outstanding Talent'.
Larissa joined ADT in 2000 and has since toured extensively throughout Europe, Canada,
America, Asia and Australia performing in Be Yourself, G, Devolution, HELD,
Vocabulary, Nothing, The Age of Unbeauty, Birdbrain and Attention Deficit Therapy. In 2008
Garry Stewart named Larissa, Associate Choreographer and continues her work teaching
company members and the Youth Ensemble.
Her work, Zero-sum, made its world premiere at WOMADelaide 2009. She followed this up with
a highly successful appearance as a guest choreographer on two seasons of So You Think You
Can Dance. Her work Slack, performed by ADT, was part of the Sydney Opera House's New
Breed season & in 2012 Link Dance Company toured this work to France & Holland. She has
created Transducer as part of Tasdance’s double bill ‘Voltage’ & made Fanatic on Sydney
Dance Company which had it’s world premier in Spring Dance, Contemporary Woman and
recently as part of SDC’s triple billDe Novo. Her full length work Skeleton premiered in the
2013 Adelaide Festival and as part of Dance Massive 2013. It also toured to the Dublin Dance
Festival the same year and is nominated for the 2014 Australian Dance Awards.
She has made a work on VCA graduating year A Ceremony of Senses, AcArts
graduates Inconsolable Robots In Search of Distraction. Additional movement direction
includes, Slingsby Theatre Company’s Wolf, State Theatre Company of SA’s Romeo &
Juliet and Mneumonic, Brink Theatre Company’s Harbinger, Mass presented by State Opera of
South Australia.
Larissa is currently developing two new works, Owning the Moment and Mortal Condition.
Tammy Hall coordinates the Country Arts SA Shows on the Road program that tours
performances annually to remote and regional towns across South Australia and works closely
with regional community volunteers to host performances for their community and develop arts
audiences. A key component to the delivery of work is the additional audience development
workshops and audience engagement opportunities that each tour provides, tailoring activities
and targeting communities and groups to participate and identify arts and cultural activities that
would not otherwise be available.
PARALLEL PAPER SESSIONS 2
Professor Mziwoxolo Sirayi
Tshwane University of Technology, South Africa
Dr Charles Ruyembe
Queensland University of Technology
Creative Industries, Cultural Planning and Urban
Regeneration for the City of Tshwane, South Africa
The purpose of this paper is to contribute to how understanding the integration of arts and
cultural sectors into the planning for city development saves as a tool for linking culture to other
types of plans (Sirayi 2008, 337), and creates value for diverse stakeholders in any society.
Furthermore, emerges as a strategy for cultural-led urban regeneration, creativity and
innovation, dissemination and preservation of arts and cultural artefacts. This paper discusses
some of the issues and argues that cultural planning is part and parcel of creative industries,
cultural policy, and thus, a policy into practice aspect that has the ability and impact for
economic development, job creation and social value. Although this discussion is specific to
South Africa and the city of Tshwane, the significance and contribution of this case may apply to
other developing countries.
Biography
Mzo Sirayi, PhD, is a professor of drama and cultural policy at the Tshwane University of
Technology in Pretoria, South Africa. Currently he is executive dean of the Faculty of the Arts in
the same university. He is the author of many accredited articles, chapters in books and books.
He has also presented many papers in local and international conferences. He has served as a
national and local cultural policy consultant.
Professor Sirayi obtained PhD in Dramatic Arts in 2001 at the University of Fort Hare. His thesis,
“The Pre-colonial Tradition of Black South African Drama and Theatre,” makes him the first
scholar to have done research I pre-colonial or indigenous drama in South Africa.
Dr Charles E. M. Ruyembe is a teacher by profession, a musician, an arts administrator/creative
expert. He worked with the National Arts Council of Tanzania from January 1988 to April 2013.
He is a researcher, a consultant in arts and culture, experienced project manager, and writer. He
pursued a Master’s degree course (in Culture, Creativity and Entrepreneurship) at the
University of Leeds in UK: 2008/2009. He has a doctorate in Creative Industries (from
Queensland University of Technology, 2014). His thesis is titled, Practical linkages between
cultural policy and education policy in promoting a creative workforce for youth in Tanzania.
Jimin Cha
Ohio State University
A New Reality of South Korea: from Homogeneity to
Heterogeneity
South Korea is confronting a new phase of globalization. The country is rapidly shifting into a
multicultural society, which is led mainly by immigrant workers and marital immigrants (Yoon,
2009; Han, 2007). However, the concept, multiculturalism, itself is still an ambiguous term for
experts and non-experts alike (Watson, 2011; Yoon, 2009; Choe, 2009). There have been
constant efforts toward multicultural issues by the South Korean government and NGOs (Yoon,
2009). However, different understandings about this unfamiliar phenomenon only stirred
dissonance between those organizations and left the situation without much progress (Yoon,
2009). Scholars researching about the government’s responds to multiculturalism assert the
dim understanding of multiculturalism and inexperience of central and local governments made
it difficult to minimize the gap between the policy and reality (Han, 2007; Yoon, 2009). Hence, by
discussing the role of the Hub City of Asian Culture, which exhibits, promotes and educates
about Asian culture, in Gwangju, South Korea, this study will assess how it stretched its function
from a cultural space to a venue that takes a social responsibility.
Biography
Sep. 2014 – Present
The Ohio State University, Columbus, United States of America
Ph. D. in Arts Administration, Education and Policy
Sep. 2011 – May. 2013
Columbia University, New York, United States of America
Master of Arts degree in Arts Administration
(Thesis: Study on the Gwangju Biennale: Its partnership with the Government)
Sep. 2007 –Aug. 2011
Ewha Womans University, Seoul, Korea
Master of Arts degree in Art History and Museology
(Thesis: A study on the religious paintings of the 16th century German artist Albrecht Dürer - In
regard to Reformation -)
Mar. 2003 – Aug. 2007
Sung Kyun Kwan University, Seoul, Korea
Bachelor of Arts degree in German language and literature / English language and literature
Professor Margaret Wyszomirski
Ohio State University
Maintaining Momentum for Cultural Development in
New Orleans: Sequential Catalysts & Approaches
Since 2005, New Orleans has managed to spur the political will to sustain a process of urban
cultural development. At least three different approaches have been incorporated into this
effort: being a key part of a state-wide creative economy plan, harnessing cultural development
as a redevelopment strategy in the immediate aftermath of Hurricane Katrina, and pursuing a
creative industries strategy. Exploring the City of New Orleans used each of these strategies and
well as interwove them is one part of this case study, The second part explores the role of
committed political leadership to generating the ongoing political will to pursue these strategies
as well as what policy tools were used to help maintain public commitment and progress over
the ten-year (2005-2015) period that has marked this initiative
Biography
Margaret J Wyszomirski is Professor in the Department of Arts Administration, Education and
Policy at the Ohio State University in Columbus, OH. From 1998 thru 2014 she was also Director
of the Graduate program in Arts Policy and Administration at OSU. She is on the editorial
boards of the Journal of Arts Administration, Law and Society, of Nonprofit Management and
Leadership, and of ARTIVATE: A Journal on Ar5ts Entrepreneurship. In 1990, she was Staff
Director of the Independent Commission on the Natl Endowment for the Arts. Then from 1991
thru 1993, she was Director of the NEA's Office of Policy Planning, Research and Budget.
Jin A Kim
Assistant Professor InSul Kim
Graduate School of Culture, Chonnam National University
What makes artists to sustain their work and social
survival as artists? A case of Gim Gwang Cheol, a
Korean performance artist
It is not a myth that most artists have two jobs to economically support themselves (Throsby &
Hollister 2003). However, Gim, Gwang Cheol, a Korean performance artist, provides a very
interesting twist on this issue. Like most artists, Gim is also a struggling artist – lacking in the
marketability of his work, no second job or government funding. However, he has made himself
solely to focus on, to sustain, and to present his work not only in Korea, but also around the
globe including major art cities in New York, Paris and Tokyo.
What makes this possible? Based on personal interviews, this driving force turned out to be
trust, reciprocity and collaboration (through networking) among other artists, domestic as well
as foreign, private sponsors, friends, and acquaintances. This phenomenon can be explained by
social capital theory which has been mostly used to explain on the outcomes of networks and
shared norms. In order to closely speculate Gim’s case, the study employs both quantitative
and qualitative approaches. Through qualitative data, a longitudinal network mapping of Gim is
analyzed. Gim’s key (internal & external) factors and fundamental virtue that reinforce his
social capital are also analyzed via quantitative semi-structured surveys. Lastly, discourse
analysis of formal and informal interviews with key people in Gim’s network is served as a
salient part of the strategic implications of this study.
Biography
Jin-A Kim is a MA candidate at Graduate School of Culture, Chonnam National University in
South Korea. She received her BA in Food Culinary Sciences at Kyonggi University and studied in
Firenze, Italy as an exchange student at Lorenzo de’ Medici. During studying abroad she
realized that she love art so much, and “Art is a way of life” became her moto. Jin-A is
interested in sustainable business models and entrepreneurship in unpopular genres of arts.
Currently, she is working at Global Making Art Network, non-profit art organization, and
president of this organization is performance artist Gim Gwang Cheol who is key character of her
case study.
InSul Kim earned her PhD degree in arts administration and cultural policy at The Ohio State
University. She is interested in how arts can be used as an alternative form to reflect social
problems, initiate civic engagement, and produce social capital. Currently, she is an assistant
professor of Graduate School of Culture at Chonnam National University, Gwangju, Korea; and
serves as editorial member at Forum for Youth Culture, Review of Culture & Economy, and
Journal of Arts & Cultural Management.
Gillian Dooley
Special Collections Librarian
Lauren Gobbett
State Manager, Australian Library and Information Association
Flinders University
Flinders University ‘Fridays at the Library’ series in the
context of the University’s Community Engagement
program: a case study
Since 2000, Flinders University Library has run a series of cultural, literary and topical events
called ‘Fridays at the Library’, which encompasses a variety of topics across the range of
disciplines in a variety of formats. The library often partners with academic departments of the
University, and with community organisations, in running these events. What the events all have
in common is a component beyond pure entertainment: one or more speakers will be invited to
share their expertise and research findings, and time for discussion with the audience is built in
to the programs. The events are promoted in the community and are deliberately kept
welcoming and informal, with free entry, no bookings required, and light refreshments offered.
In this paper we will explore (1) whether other similar community engagement activities are
undertaken in university libraries around Australia, and (2) the benefits of running such a
program for ‘engaged outreach’. A survey of our audience confirms our belief that Fridays at
the Library (a) encourages informed discussion in the community of topical and often
controversial subjects, (b) fosters exchange and networking between researchers and the
community, (c) provides an accessible and welcoming interface between the university and the
surrounding community.
Biography
Gillian Dooley is the Special Collections Librarian at Flinders University, where she is also an
Honorary Senior Research Fellow in English. She has published extensively on literary subjects
and is the founding editor of two literary journals.
Lauren Gobbett was the Assistant Special Collections Librarian at Flinders University Library from
2012 to 2014. She is the Australian Library and Information Association South Australian State
Manager and is undertaking the Bachelor of International Studies History Honours.
Associate Professor Robert Phiddian
School of Humanities and Creative Arts, Flinders University
The publics of the Adelaide Festival of Ideas: a brief
history of civic engagement
This paper will analyse the presenter’s experience with the Adelaide Festival of Ideas (19992013), a pioneering public ideas event in the Australian context. Who is its public, and in what
ways have they engaged with event over the years? The hypothesis to be tested is that the
quality of the discussion depends on the cultural ecology of the city in which it occurs and on
the way the event itself summons a coalition of publics to join in. Can cultural consumers
become citizens? And can benefit become value?
In a broad sense, this bears on the often vapid debates about civic ‘vibrancy’, and more
narrowly it involves two threads of scholarship:

William Warner’s account of Publics and Counter publics (New York: Zone, 2002), with its
explanation of how a public can differ from an audience;

A body of work on cultural value that seeks to put social, historical and civic context around
the narrowly economistic rationales provided for events that we are developing out of the
ARC-funded ‘Laboratory Adelaide’ project, see http://blogs.flinders.edu.au/flindersnews/2014/08/19/counting-the-value-of-sas-culture/.
Biography
Robert Phiddian teaches in Renaissance and Eighteenth Century literature and has a special
interest in political satire, parody, and humour. He researches political satire, especially current
Australian political cartoons with Haydon Manning. He is Chair of the Adelaide Festival of Ideas,
and has a particular interest in the quality of public language and in writers' festivals.
Dr Tully Barnett
Flinders University
Value or Values: Getting lost in the etymological mine
fields of the cultural value debate
Understanding culture’s value requires a constant realigning of the parameters of the
discussion as a result of language and terminology that continues to cause spikes of
misunderstanding and misalignment. The broader project concerns culture understood as the
arts but also as more than the arts, including multicultural arts but not multiculturalism itself. It
concerns ‘value’ as ‘worth’ but also, if to a lesser extent, ‘values’ as ‘principles’. The
slippage between the terms only exacerbates the difficulties in presenting non-economic forms
of value as central to any discussion of the value of culture.
This paper attempts to unpack some of the roadblocks that arrest progress in the global project
to understand the value of culture and arts outside of the economic instruments such as profit
and loss. It uses theories of value that incorporate Holden’s triangulation of intrinsic,
instrumental and institutional value. However, fundamentally, the question of what kinds of
value can be addressed in the cultural sphere must first engage with the etymological trap of
value vs values. As a case study, this paper uses the recent emergence of the problem as a factor
in the debate around the 2015 Australian federal budget changes to the administering of arts
funding.
Biography
Tully Barnett is a Research Fellow in the School of Humanities and Creative Arts at Flinders
University working on the ARC-funded Linkage project Laboratory Adelaide: The Value of
Culture. She publishes in the field of literary studies and technologies of reading such as e-book
social highlighting and Google Books marginalia as well as the value of the Humanities. She is
Research Associate for the Australasian Consortium of Humanities Research Centres.
Heather Robinson
Flinders University
The State Library of South Australia: A History of
Institutional Value
In presenting his framework for analysing cultural value, John Holden describes the Institutional
component of his value triangle as being not simply the way organisations interact with the
public, but the manner in which they do so:
“In their interactions with the public, cultural organisations are in a position to increase – or
indeed decrease – such things as trust in each other, our idea of whether we live in a fair and
equitable society, our mutual conviviality and civility, and a whole host of other public goods”.
(Holden 2009)
This paper addresses the history of the State Library of South Australia using Holden’s concept
of Institutional Value, demonstrating the fundamental role the library played in the colony’s
early cultural and community development. Located in a city that takes pride in its reputation as
a cultural capital, the library is situated in a creative and edifying civic space dedicated to public
learning and the communication of ideas, operating almost as the democratic soapbox within
our “Paradise of Dissent”. I argue that Holden’s concept of Institutional Value is a useful tool
with which to examine the value provided by the State Library of South Australia to the young
state and its publics.
Biography
Heather Robinson is a Research Associate and PhD Candidate at Flinders University, contributing
to the ARC funded project, Laboratory Adelaide: The Value of Culture, focusing on the history
and values presented by the State Library of South Australia. Robinson has extensive experience
in the arts and cultural sector across Australia and the United States. Her roles have ranged from
Associate Director for the 2013 Adelaide Festival of Ideas to Visual Arts Officer for the 2003 Perth
International Arts Festival. Since 2010 she has been an Honorary Research Associate for the
Natural History Museum of Los Angeles County.
Assistant Professor Eleonora Redaelli
Associate Director of Undergraduate Education (AAD), University of Oregon
Creative Placemaking in the US: Analyzing a Policy
Governance
Policymakers and professionals in the arts and cultural sector have been increasingly using the
term creative placemaking. Despite the growing popularity of this term, its definition is still fuzzy
and not well understood. In this paper, I suggest focusing the attention to governance dynamics
to better understand what are the roles of different levels of government and of third parties in
defining and implementing this policy in the United States. Governance is used to refer to
collective action designed to achieve a general interest through different actors from both the
government and civic society. I use intergovernmental relations theory to capture governance
dynamics in creative placemaking. In particular, I focus on three main tools developed by the
National Endowment for the Arts (NEA): research, grants, and partnerships. What emerges is that
creative placemaking is the result of multi-level governance based on a dynamic exchange
between national and local governments, the involvement of a variety of actors, and a
multifaceted role of the NEA that includes, not only offering and leveraging funding, but also
shaping the conversation, providing insights, and spurring collaborations.
Biography
Eleonora Redaelli is assistant professor at University of Oregon. Originally from Italy, she studied
at Università degli Studi di Milano and at Conservatorio Giuseppe Verdi. After working for public
and private institutions in the cultural sector in Italy, she got her PhD at The Ohio State
University. She coordinated and taught in the Arts Management program at University of
Wisconsin-Stevens Point and in the fall 2013 she joined the Arts & Administration program at
University of Oregon. She was visiting scholar at Tshwane University of Technology, Pretoria,
South Africa, and visiting professor at the American University, in Rome, and at Shandong
University, Jinan, China. She specializes in cultural policy, cultural planning, and arts
management education. Her works appear in International Journal of the Arts in Society, City,
Culture and Society, Urban Affairs Review, Cultural Trends and Journal of Arts Management, Law
and Society, Journal of Planning Education and Research, and Urban Geography. Recently,
Palgrave published her book, co-authored with Jonathan Paquette, titled “Arts Management
and Cultural Policy Research.”
Assistant Professor Kathleen Gallagher
Southern Methodist University
Professor Javier Hernandez-Acosta
Universidad del Sagrado Corazon
How do cultural traditions and policies impact
support and lifecycle of arts and culture nonprofits?
The case of Puerto Rico
Arts and culture are being attached to a variety of public programs, from education to economic
development. This is being done without consideration of the sustainability of the sector.
Quantitative research has been conducted to better understand how the ecology shapes the
health of the sector. Previous studies have used organizational ecology to assess the growth
and contraction of nonprofit organizations in the United States, the effectiveness of financial
ratios in predicting the survival of arts nonprofits in Minnesota, and how mechanisms for
funding the state arts agency contribute to the ecology and influence the population dynamics
of arts nonprofits. Gallagher (2014) reported on patterns in the fifty United States but excluded
US territories. Scholars have explored the significance of geography as it influences political
climate, philanthropy, and participation in the arts. Puerto Rico is a commonwealth of the United
States but residents retain pride in a distinctive culture, heritage, and tax policies. This paper
proposes using data that includes population dynamics and interviews with leaders of Puerto
Rican arts and culture organizations to answer: How do cultural traditions and policy initiatives
impact the support and lifecycle of arts and culture nonprofits?
Biography
B. Kathleen Gallagher is Assistant Professor of Arts Management and Arts Entrepreneurship at
Southern Methodist University and Research Associate at the National Center for Arts Research.
Gallagher completed her Ph. D. in Public Affairs at the University of Colorado. Her research
explores sustainability of the arts sector. She has presented at conferences in United States,
Canada, Italy, Ireland, France, and Japan. She is qualified as a Certified Appraiser of Fine Arts.
Javier Hernandez Acosta Full-time faculty in the Business Administration department at
Universidad del Sagrado Corazón and lecturer at the Master Program in Cultural Agency and
Management at the University of Puerto Rico. Founder of Inversión Cultural, a project that
support cultural entrepreneurs in Puerto Rico. His main research interests includes creative
economy, cultural policy, cultural entrepreneurship and arts management. Is the author of the
Profile of the Creative Economy in Puerto Rico, has published in various books on cultural
industries and presented in conferences in United States, Canada, Cuba, Colombia, Brazil, Japan,
The Netherlands and Belgium. He is also a musician (Latin percussionist) and has been an
advisor for the government in cultural policies and creative economy.
Kim-Marie Spence
PhD Candidate, The Australian National University
Creative Economy Development - Public Policy in Asia
The Creative Economy is increasingly presented as a source of economic growth and
development. Through a comparative case study of two examples of creative economy success
especially outside the Global North - India's Bollywood and South Korean Hallyu, the
importance of capital investment and the limitation of the global value chain particularly in the
media sector is discussed. This represents a departure from the common creative economy
development discourse focused on utilizing local cultural heritage and social inclusion.
Biography
Kim-Marie Spence is a PhD Candidate at the Australian National University. Jamaican Australia
Award scholar focusing on the creative economy and development in the Global South. She also
studied development studies at Oxford as a Jamaica Rhodes Scholar. Her research at Oxford
focused on monetizing traditional performance art forms and its socio-cultural impact –
focusing on kuttiyattam, Indian Sanskrit theatre. Her interest in the creative economy is beyond
the academic. She is a former Jamaica Film Commissioner and previous head of the Creative
Industries for Jamaica. She is involved in fashion weeks in Jamaica, Australia and beyond; and is
keen follower of (and studies) the reggae industry.
Dr Christiaan De Beukelaer
University of Melbourne
Contesting National Cultural Policy: Does the 'Zwarte
Piet' Debate in the Netherlands call for a
Cosmopolitan Response?
This paper builds on Raymond Williams’ seminal engagement with ordinary culture in order to
apply his argument to cultural diversity, beyond his initial engagement with social class in 1950s
Britain. The argument is rooted in debates around the practice of the figure of Zwarte Piet in the
Dutch Sinterklaas celebration (an exemplary case of ‘ordinary culture’). This ‘invented
tradition’ has been increasingly contested in the past decade, as ‘Dutch’ and ‘others’ (or
‘strangers’) have clashed over the meaning, history, connotation, and offensiveness of this
practice. My argument is that the yearly recurrent clashes cannot be resolved within a framework
of a national cultural policy, which legitimises ‘Dutch’ practices above the concerns of
‘strangers’. Building on Kwame Anthony Appiah’s work on cosmopolitanism, I make the
case that in ‘a world of strangers’ a cosmopolitan framework for belonging is not only a
normative but also a policy imperative. This means that cultural policy should recognise our
shared humanity as the basis for a sense of belonging that first and foremost connects us, rather
than building a national polis predicated on difference that sets us apart. However, I do not
propose a cosmopolitan cultural policy as a blanket approach to replace or undermine any
national framework for a public sphere, but argue that we need to embed the nation in a
cosmopolitan public policy to make it work for the cultural and religious diversity under
globalisation that has irrevocably eroded the illusion of national unity.
Biography
Christiaan De Beukelaer is Lecturer in Cultural Policy and Management. He has a
transdisciplinary background that spans Musicology (BA, University of Amsterdam), Cultural
Studies (MA, University of Leuven), Development Studies (MSc, University of Leuven) and Media
& Communication Studies (PhD, University of Leeds). His research connects a range of questions
through music, cultural industries, human development, and social justice. He has authored the
book Developing Cultural Industries: Learning from the Palimpsest of Practice (European
Cultural Foundation, 2015) and co-edited (with Miikka Pyykkönen and JP Singh) the book
Culture, Globalization, and Development: The UNESCO Convention on Cultural Diversity
(Palgrave Macmillan 2015). He is working on a co-edited (with Anita Kangas and Nancy Duxbury)
special issue of the International Journal of Cultural Policy (2017) titled Cultural Policy for
Sustainable Development. In 2012, he won the Cultural Policy Research Award.
Fiona Cook
ArtWork Program Manager, Arts Access Victoria
Eva Sifis
Advocate, Artist and Arts Worker, Arts Access Victoria & Independent Artist
ArtWork: Working together to build Pathways to
Employment in the Arts for people with a Disability
Getting a paid job if you are person with a disability, you are Deaf or you have experience of
mental illness is difficult. If you’re interests are in the arts and working as an artist then its even
harder. However the arts and creative industries can be the ideal environment, training ground
and workplace for a very diverse range of people. The ArtWork program at Arts Access Victoria
has been established to provide the required framework and support to artists who are wanting
to develop a career in the arts. Using an individually tailored multi-spoke approach, ArtWork has
successfully worked with many artists to pave their career in the arts. Mentoring, placements,
residencies, coaching and links to related networks have offered artists alternative approaches
to developing the skills and experience required to achieve their artistic aspirations. Working in
partnership with the arts industry and the employment services has provided the needed
development support for the sector to be more responsive. Spanning across artforms and with
engaging with a broad range of people, stages and interests, ArtWork has proven the case that
with the right support and being linked into the right conversations, being paid in the arts is
possible.
Biography
Fiona has worked in arts management and community development in the arts, community and
disability sectors. She has been involved in the establishment of companies such as Cecil St
Studio, rawcus Theatre Company, Weave Movement Theatre, The Delta Project, One Voice
Theatre and has worked with numerous individual artists supporting them in their professional
development and career pathways. Fiona has worked as a producer, choreographer, performer,
gallery manager, curator, teacher, mentor, administrator and consultant in the arts. Since joining
Arts Access Victoria in 2007 she has initiated some outstanding programs, devising and
delivering the highly successful national mentoring program Pathways Program or ArtWork In
the course of this work, Fiona has worked as a mentor with more than 80 artists with a disability.
Eva, once a professional dancer and performer, working both nationally and internationally, her
career was cut short after being hit by a car in 1999. She sustained a severe head injury.
Since then Eva has been involved with the national disability arts arena with companies in South
Australia and Victoria. She has volunteered extensively in the arts (Restless Dance, No Strings
Attached) and with the Wilderness Society. Eva’s studies include massage, bodywork and
community development. In 2009 Eva was recovering from Hodgkins Lymphoma. In 2011 she
moved to Melbourne where she spent 2012 as an associate director of the Other Film Festival
with Arts Access Victoria. Eva joined the ArtWork Program and is now a trainer for Women with
Disabilities, is the Coordinator for the Lesley Hall Scholarship at Arts Access Victoria and has
presented at information events and conferences. Eva has secured grants to develop her solo
theatre work titled EZB which had its first showing at St Kilda Town Hall and was presented as
part of La Mama Theatre’s 2014 program. Most recently she has been awarded an Ethel Temby
Scholarship to develop and deliver her own workshop and training program for other people
recovering from head injury.
Somayeh Bahrami
Professor Seyed Jalal Dehghani Firoozabadi
Faculty of Law and Political Sciences, Allameh Tabataba'i University, Iran
Iranian Diasporas and Preservation and Dissemination
of arts and culture of Iran: Opportunities and
Obstacles
Considering its common definition, the existence of “phenomena of diaspora” in Iran may not
exceed more than two generations though it can be traced back to the most ancient periods.
Along with following the processes of forming and internal consistency, different communities
of Iranian diasporas (especially in Europe and North America) have pursued constant relations
with their homeland in various contexts to preserve their language, culture and identity. Iranian
diasporas put themselves in charge of upholding collective memory and cultural heritage of
their homeland and this is well received among Iranian officials inside Iran. Then, it could be said,
although Iranian government has mainly not sought formal diasporic engagement policy, it has
encouraged and motivated informal engagement of Iranian diasporas with Iran and Iranians
inside Iran during two past decades. Relying on constructivist theory, this article is aimed at
exploring capacities and restrictions Iranian diasporas face in order to preserve and disseminate
arts and culture of Iran across the world. Concerning the current regional and international
situation of Iran, this study hypothesizes that an informal diasporic engagement with homeland
will bring a higher chance of success for Iranian diasporas to maintain and disseminate the arts
and culture of Iran.
Biography
Somayeh Bahrami is a Master's student in Middle East Studies, Faculty of Law and Political
Science, Allameh Tabataba'i University, Tehran, Iran.
Seyed Jalal Dehghani Firoozabadi (born 1965 in Meybod, Iran) is full professor of International
Relations and Regional Studies at the Faculty of Law and Political Science, Allameh Tabataba'i
University. In 1995, he obtained his PhD in Political Sciences from Brussels University (VUB) with
a study on the European Foreign and Security Policy. His academic expertise extends to the
areas of Foreign Policy Analysis, Theories of International Relations and European Studies.
Furthermore, he was dean of the Faculty of Law and Political Science, Allameh Tabataba'i
University 2009-2012.
Assistant Professor Antonio Cuyler
Arts Administration & Coordinator of Internships, Florida State University
Access, equity & inclusion: Building bridges through
advocacy & leadership in public funding for culture
In this paper, I advocate for the cultural sector moving from passively “valuing” diversity &
social justice to actively applying outcome-based thinking to its quest for diversity & social
justice. In addition to describing outcome-based thinking, I define access, equity, and inclusion
as essential components to achieving diversity & social justice in the cultural sector. Thus, this
article introduces an emerging framework that may assist the cultural sector’s pursuit of
diversity & social justice.
Biography
Dr Antonio C. Cuyler is Assistant Professor of Arts Administration & Coordinator of Internships
at Florida State University. His research interests include Arts Administration Education and
Cultural Policy.
Doreen Sayegh
MFA Arts Leadership Candidate, DePaul University
Positive Disruption: How arts festivals can change
communities
As safe, contained places for exploration, the arts are often used to challenge audiences to think
critically about social, economic, and political issues. Very rarely does that lead to acting
critically. This paper addresses the disconnect between thought and action by proposing a
model for an arts festival as a mechanism for driving conversation, constructing cultural space,
and stimulating action. Specifically, this paper focuses on the current rapid gentrification of the
Central District Neighborhood in Seattle, USA, and the resulting displacement of its historic
black community. Both the content and the structure of the festival need to be carefully
considered in order to use the platform to practice the political values it expresses. A festival
with a political message, built with the voice of the community at the center, can break out of
the dominating social structure that both generates and reinforces the issue being addressed.
Biography
Doreen Sayegh is a producer, designer, and collaborative theatre artist. She is the Managing
Director of the Satori Group in Seattle and Producing Associate at Chicago Shakespeare Theater.
Doreen was programming advisor of arts, culture, and design events for The Next Fifty at Seattle
Center; assistant producer for the 25th Israel Film Festival in NYC; and sits on the curatorial
committee for the biennial Chicago International Puppet Theater Festival. Doreen is an alumna
of the European Festivals Association’s Atelier POZNAŃ 2014 and will graduate in June 2015
with an MFA in Arts Leadership from DePaul University.
Professor Susan Luckman
Cultural Studies, University of South Australia
Dr Jane Andrew
Director, Match Studio, University of South Australia
Rae O’Connell
CEO, Guildhouse
Jane Yuile
Chairman of ANZ Bank South Australia
Promoting the Making Self in the Creative MicroEconomy
One of the key ‘take home’ messages of the most recent Australian federal budget was its
emphasis on supporting small business to create jobs growth. In her book Craft and the Creative
Economy, Luckman (2015) notes that the online craft marketplace, dominated as it is by microbusinesses and the self-employed, grew exponentially during the GFC, a period one would think
coincided with decreased discretionary spending but obviously increased un- or underemployment. At a time of growing employment uncertainty, shrinking arts funding, and a
governmental emphasis on encouraging small business, the development of micro enterprises
can be seen as part of wider patterns of the privatisation of responsibility for one’s economic
position; coinciding across much of the industrialised world with the winding back of the social
safety net and the personal and economic risks involved in this can be high. These factors
appear to be underpinning much self-employment, and notably this is the case in the craft
marketplace where people are looking to buy ‘from the hand of the maker’. In this way,
designer makers, like many other creative industries workers, are at the forefront of wider socioeconomic trends around collapsing boundaries between the spheres of ‘work’ and ‘life’,
enabled by the growth of digital technology.
Luckman’s research has inspired a 3 year Australian Research Council Discovery project in
which she is working with Dr Jane Andrew to the examine the motivations and issues faced in
developing and sustaining a creative micro- enterprise, and the associated experience of
marketing one’s self on social media as part of the business model.
Luckman and Andrew will present a short paper as a provocation for the panel to discuss the
issues surrounding developing and operating a creative micro-enterprise (with a specific focus
on designer-makers), the influence of online distribution and with it, the larger relationship
between the public and private spheres.
Biography
Susan Luckman is Professor: Cultural Studies in the School of Communication, International
Studies and Languages at the University of South Australia. She is an interdisciplinary cultural
studies scholar whose work is concerned with the intersections of culture, place and creativity.
Susan is the author of Craft and the Creative Economy (Palgrave Macmillan 2015), Locating
Cultural Work: The Politics and Poetics of Rural, Regional and Remote Creativity (Palgrave
Macmillan 2012), co-edited the anthology on creative music cultures and the global economy
(Sonic Synergies, Ashgate 2008), and with Nicola Thomas the forthcoming volumes Craft
Economies: Cultural Economies of the Handmade and Craft Communities: Making, Social Media
and Alternative Economies of the Handmade (Bloomsbury).
Jane Andrew is an educator and researcher working at the University of South Australia in the
School of Art, Architecture, and Design where she is the Director of matchstudio, an
interdisciplinary research and professional practice studio that supports students’ transition
from university to work.
Jane’s early career as a designer-maker, together with her role as Executive Director of
Craftsouth (now Guildhouse) inspired her teaching and research career that focuses on the
contribution ‘creative capital’ to economic development, collaborative, trans-disciplinary
practice, value networks, and systems thinking are areas of research focus. In 2004 she was
awarded an APAI scholarship and commenced a PhD as part of an ARC Linkage Project at the
Centre for Labour Research/Australian Institute for Social Research and the Department of the
Premier and Cabinet’s, Strategic Projects Division. Her thesis ‘Beyond the Creative Quick Fix:
Towards an understanding of Creativity’s place in South Australia’s Economic Development
Agenda’ argues for a more collaborative and systemic approach to fostering creativity through
activating and demonstrating the nexus between teaching, research, policy, professional
creative practice and economic development.
PARALLEL PAPER SESSIONS 3
Dr Shoshanah Goldberg-Miller
Assistant Professor, Ohio State University
Cultivating Sustainable Creative Cities: Policy
Mobility, Social Equity and Cultural Inclusion
This paper explores the creative cities movement, focusing on who is left out of this primarily
urban trend. What is the shadow side of the tremendously optimistic creative cities movement?
How did this trend become globalized so quickly? The gentrification of derelict districts in the
service of creating renovation and building up anchor institutions may produce a group of
alienated and angry current and former residents. If these projects are supported in any way by
the municipality, state actors working need to justify policies created and implemented that may
impact the marginalized and less fortunate community members. The challenges of fostering
inclusive urban interventions extend to issues of place, as many creative cities interventions are
located in parts of the city inaccessible to the very communities being touted as a part of this
multicultural framework. Attention must be paid to building design, statuary, public art, and
municipal branding to ensure that a philosophy of cultural inclusion truly is embedded in all of
these aspects of creative placemaking. While the idea of cultural and ethnic festivals, arts
facilities, and live work spaces for artists are appealing, do these really contribute to the vibrancy
of neighborhoods and districts? What about class issues in the creative city discourse?
Biography
SHOSHANAH B. D. GOLDBERG-MILLER is Assistant Professor in the Department of Arts
Administration, Education and Policy at The Ohio State University, with a courtesy appointment
in the City and Regional Planning Section of OSU’s Knowlton School of Architecture. Dr
Goldberg-Miller’s research focuses on arts and cultural entrepreneurship, creative economic
development, global cultural policy, and management and fund development in nonprofits. Her
book, Planning for a City of Culture: Toronto and New York, now under review by University of
Toronto Press, explores how these cities used arts and culture to build their brand, enhance
public good, and create economic prosperity in the 2000s. Goldberg-Miller has published in
Artivate: A Journal of Entrepreneurship and the Arts and her article, “In the Creative City’s
Shadow: The Winners and Losers in Creative Placemaking” is under review for Journal of
Planning Literature. An experienced fundraiser, Goldberg-Miller was on the executive team at
The Paley Center for Media, American Cancer Society, Greenwich House Pottery, March of
Dimes, American Museum of Natural History, and Museum of Holography. Prior to joining
OSU’s faculty, she taught at The New School, Hunter College, and Columbia University. As a
management consultant, Dr Goldberg-Miller has served clients such as Parsons School of
Design, Aspen Institute, National Geographic and Sesame Workshop, as well as numerous
individuals and community-based organizations.
Mariquita de Mira
Suzy Martinez
Seattle University
ALAS (Arts Latin American Stories): Bridging the gap
between Latin American Artists and Arts
Organizations
Mariquita de Mira and Suzy Martinez’s involvement with the arts community in Seattle,
Washington led them to discover a disconnection between Latin-American artists who claim
they were unaware of arts resources; and conversely arts organizations that claim they were
unable to reach them to share their professional and financial resources. This realization
prompted them to organize two cultural events under the acronym ALAS (Arts Latin American
Stories), which means “wings” in Spanish, where arts administrators, art leaders, and LatinAmerican artists were invited to participate in storytelling, professional development and
networking, and cultural celebration. Through these events, the authors utilized research
methods that included interviews, observations, and surveys, to address the lack of access and
equity to the arts experienced by Latin-American artists. Their findings produced short and longterm recommendations that benefit Latin-American artists, arts administrators and
organizations, communities at large and the overall economic vitality and progress of
Washington State.
Biography
Mariquita de Mira, is a 15-year veteran of the entertainment industry where she landed her first
gig at MTV Networks working on “MTV Movie Awards”, “Video Music Awards”, and
"Superbowl Half-time Show.” She advanced to The Walt Disney Company supporting senior
executives in film productions that included “Enchanted”, “Pirates of the Caribbean”,
“Gone Baby Gone”, and “Step Up.” Thereafter, she spent 5 years as a Media Manager at
Vubiquity, a multi-platform digital media company that delivers Video-on-Demand content to
cable and telecom companies. Seeking a career change, she decided to transition into the arts
by pursuing a Master in Fine Arts in Arts Leadership at Seattle University. During her time there,
she got involved with the Graduate Student Council and President’s Diversity Task Force. She
has traveled to 42 countries, most recently to Colombia where she got to practice her Spanish
Suzy Martinez is the Founder of Expanded Connection, Inc. a national consulting company that
facilitates cross-cultural understanding through workshops communication, well-being and
non-profit arts consulting. Her vast experience as a bilingual bicultural arts and creativity
advocate involve working with the Washington State Arts Commission, community colleges,
schools and non-profit organizations.
Her insatiable search for discovering ways to create equity within communities that lack
equitable access ability in the arts and education led her to discover the intra cultural and inter
cultural challenges between the Latin American artists and funders. The growing demographics
of Latinos in the United States and arts organizations focusing on social justice and outreach
further prompted the exploration of what is the gap between funders and Latin American artists;
how to build sustainable connections that create collective impact and access ability for Latin
American artists; and develop cultural events as a means to gather data to fill the gap and
elevate the communities.
Dr Edwina Marks
CEO, Barkly Regional Council
Are we really making a difference? Cultural change in
at risk communities in remote NT
The Barkly region is home to the Utopia homelands, long famous for the birth of Australian
cultural product during the 1970’s. More recently multi media has provided an effective
platform for the voice of social dysfunction, violence and positive messaging. Whilst there is
significant evidence of engagement and content are we really making a difference? This paper
traces federal government arts policy and engagement since the Northern Territory Emergency
Response to the current day and analyses its success and failure as a tool for change, education
and social change across remote communities in central NT.
Biography
Dr Edwina Marks commenced as CEO for the Barkly Regional Council in January 2014 after five
years in local government in NSW and previously held the role of Director Communities at Barkly
Regional Council from May 2013 to January 2014. Last year she completed the
ANZSOG Excellence in Local Government Leadership program at the ANU. Edwina has held
senior management roles across the corporate, private and public sector and possesses
postgraduate qualifications in business, management and the Arts. She gained a Masters in Fine
Art and her PhD (2012) at Newcastle University (NSW). Both focused on the impact of economic
and social risk associated with public art practice.
Jiyoon Park, MA Candidate
Assistant Professor Insul Kim, Graduate School of Culture
Chonnam National University
Can Arts Heal the Wounds of State Violence?: A Case
of Survivors of May 18 Democratic Uprising, their
Resilience & Posttraumatic Growth
The May 18 Democratic Uprising (5.18 Uprising), mass protests against the S. Korean military
government, took place in Gwangju during May 18th to 27th in 1980. Hundreds of civilians were
brutally massacred, beaten and tortured by the military, rendering Gwangju into a potent
symbol of the nation’s democratic history. However, the people who experienced state
violence during the 5.18 uprising have suffered from severe post-traumatic stress disorder
(PTSD) and extreme life challenges in many aspects. For example, the suicidal rate of 5.18
survivors is 500 times greater than that of the average rate of general Koreans.
Gwangju Trauma Center (GTC) opened in 2012 as a means to provide mental health services to
5.18 survivors, including therapeutic arts workshops. This research attempts to find how and
what elements of GTC’s arts workshops help the 5.18 survivors to overcome PSTD, to find their
own strength (resilience), and to lead posttraumatic growth. For data collection, both
quantitative and qualitative research methods are used. For a quantitative approach, a Korean
version of the Connor-Davidson Resilience Scale (K-CD-RISC) will be used as pre-and-post tests
before and after the arts workshops. For a qualitative approach, in-depth interviews,
participatory observation, and journaling will be applied. Every step of data collection is
designed to protect and respect all the research participants of this study for their dignity and
privacy.
Biography
Jiyoon Park is the MA Candidate at Graduate School of Culture at Chonnam National University
and majors Arts Administration & Tourism. She is a recipient of University Scholarship and Brain
Korea 21(BK21) Research Grant Award. She is deeply interested in the therapeutic power of the
arts and how that power can help the wounds and the society we live in.
InSul Kim earned her PhD degree in arts administration and cultural policy at The Ohio State
University. She is interested in how arts can be used as an alternative form to reflect social
problems, initiate civic engagement, and produce social capital. Currently, she is an assistant
professor of Graduate School of Culture at Chonnam National University, Gwangju, Korea; and
serves as editorial member at Forum for Youth Culture, Review of Culture & Economy, and
Journal of Arts & Cultural Management.
Assistant Professor Monica Eileen Patterson
Institute of Interdisciplinary Studies, Carleton University
Difficult Knowledge in Public: Thinking through the
Museum
The Canadian Museum for Human Rights opened to the public in September 2014. Yet this "first
museum solely dedicated to the evolution, celebration and future of human rights" met serious
criticism from a variety of stakeholders before it even opened its doors. These stakeholders
including Indigenous and Ukrainian communities, anti-poverty activists, feminists, gay rights
activists, and disabilities advocates questioned some of the museum's key curatorial choices in
framing issues of rights and their historical violation, and drew attention to ongoing injustices,
close to home, that the museum's narrative elides. Conflicts like these, and attempts to quell
them, are increasingly common as museums across the globe take up the charge of
representing histories of injustice. Yet rather than retreating into crisis management and
controversy-avoidance, how might these significant cultural institutions proactively turn such
inevitable challenges into opportunities for learning and dialogue? Can museums' social justice
mandates extend beyond proclamations about global inequities on their gallery walls, to the
diverse communities on their doorsteps? What new tools and methodologies might be
developed for productive, ethical engagement with the painful histories around us if we invite
scholars, artists, and community members to join together with museum professionals in
collaboratively thinking through the museum?
Biography
Monica Eileen Patterson is an Assistant Professor in the Institute of Interdisciplinary Studies at
Carleton University in Ottawa, Canada. She holds a doctorate in Anthropology and History from
the University of Michigan. Patterson is coeditor of Curating Difficult Knowledge: Violent Pasts in
Public Places (Palgrave Macmillan, 2011) and Anthrohistory: Unsettling Knowledge and
Questioning Discipline (University of Michigan Press, 2011). As a scholar, curator, and activist,
she is particularly interested in the intersections of memory, childhood, and violence in
postcolonial Africa, and the ways in which they are represented and engaged in contemporary
public spheres.
Associate Professor Jonathan Paquette
School of Political Studies, University of Ottawa
The Ethics of Colonial Heritage Preservation: Policy
and Management in Asia
Colonialism has been an important dynamics in human history. The traces of this global political
and historical dynamics are perceptible in the built as well as in the intangible heritage of most
area around the globe. In other words, the dramatic events and dynamic engendered by colonial
processes have been nonetheless creative from today's perspective. This paper engages with
this ethical dimension; it discusses nostalgia and ambivalence with regards to colonial heritage.
Building on different cases and sites from South-East Asia, this paper documents the social
creative of heritage policy and the postcolonial ethics of heritage preservation.
Professor Wang Yu
Culture management department of the institute for historical and cultural industries,
University of Jinan
The Research on Development Status of Art Fund in
China
Art Fund is the product of art and finance. The West since the 1960s began the process of art
financialization, with the emergence of plentiful research achievements on development status
of Art Fund. In the international capital markets, art itself is a quasi-financial product and the
third most important investment following the stock and real estate. In 2010, Art Fund was
brought into China, which accelerated the development of China's art financialization. At
present, there are at least 70 million participants in China and its popularity is increasing. With
the total turnover of more than 150 billion yuan in 2010, China's art market ranks first in the
world，accounting for 33% of the global art sales. Art investment industry appearing broad
prospects for development, the securitization of art is in a critical period of development.
However, correlative research on the development of art securitization in China is extremely rare;
even in the western developed countries the study of art trading is blank. Proceeding from
analysis for the industrial chain of the Chinese art market, the author objectively analyzes the
current situation of Chinese art market and the major modes of Chinese
art investment and securitization at present. In addition, this paper analyses the current situation
and the existing problem of the Art Fund development, and puts forward the corresponding
countermeasures. The significance and value of this study on Chinese Art Fund lies in the
following aspects: Based on art theory, this research of Art Fund will be able to provide some
theoretical perspectives for us to re-recognize the culture and artwork consumption of
contemporary China. It is a positive response of theory about the developing Chinese culture
economy, and there is systematic understanding of organizational patterns and operation
strategy of Art Fund and other related characteristics. Art Fund research will play a positive role
in this sphere; Art Fund has a profound influence on transmission of art.
Biography
Wang Yu, female, PhD, associate professor, dean in the culture management department of the
institute for historical and cultural industries, University of Jinan.
Associate Professor Louise Ejgod Hansen
Associate Professor Hans-Peter Degn
Aarhus University
Balancing between programme and projects
In 2017 Aarhus will be European Capital of Culture. RethinkIMPACTS 2017 is a strategic
partnership between Aarhus University and the Foundation Aarhus 2017 responsible for
evaluating this mega event.
The paper will present the challenges of balancing overall programme perspectives with projectspecific ditto in the evaluation design.
Aarhus 2017 is organised as a quite decentralised programme with key responsibility for delivery
delegated to other cultural institutions developing and carrying throughout the specific projects
and events. At the moment 65 projects are initiated and more coming which demonstrates the
complexity of the programme and thus of the evaluation criteria.
Aarhus 2017’s strategic objectives (and subsequently success criteria and KPIs) primarily focus
on the overall programme. The paper will address the challenge of developing and balancing
evaluation criteria stemming from primarily overall programme objectives yet operationalised
on specific, diverse projects.
Biography
Louise Ejgod Hansen, PhD, associate professor, is a cultural policy researcher, mainly focusing on
audiences and social impacts and on the relationship between cultural policy and cultural
institutions. Her main subject is theatre. She is the project and research manager of
rethinkIMPACTS 2017 that carries through the research-based evaluation of Aarhus as European
Capital of Culture.
Hans-Peter Degn, teaching associate professor, has over the last 5 years been engaged in
different evaluation projects within communication and society, IT and learning activities etc.,
some of which have been independent research projects, others commissioned by different
ministries and government bodies. His background and main activities lie within media studies
and political science. He is the evaluation manager of rethinkIMPACTS 2017 responsible for the
process of developing the evaluation scheme and data gathering within rethinkIMPACTS 2017.
Professor Charles Gray
Business Economics, University of St Thomas
Valuing the Arts from the Bottom Up: A Pilot Case
Study
In his plenary address to a 1999 arts-related research conference in Nashville, TN, William Ivey,
the Chair of the National Endowment for the Arts at that time, stressed the need for arts
advocates to emphasize the value of the arts to society. In the fifteen years since that call for
action, however, this value assessment remains largely an amalgam of sporadic anecdotes,
experimental efforts, conflicting opinions, and divergent methods. This case study of the value
created by a specific arts institution employs an explicitly economics approach, which means a
consistent theoretical foundation as basis for value identification and measurement. The
Minnesota Marine Art Museum of Winona, Minnesota, was selected because of its somewhat
isolated location, thereby keeping the measurement components confined to a relatively
compact geographic area and population, and the Museum’s rather extraordinary collection,
wherein prominent Impressionists and the Hudson River School are especially well represented.
Most economists agree that market values such as admission fees to museums and auction
prices of paintings fail to capture the total social significance. This study incorporates the
multiple methodologies required to calculate total value.
Biography
Charles M. Gray is Professor of Business Economics, Department of Finance, and Senior Fellow,
Center for Nonprofit Management, University of St. Thomas, Minnesota. He is co-author of The
Economics of Art and Culture (3rd ed. forthcoming), former president of the Association for
Cultural Economics, International, and editor emeritus of Nonprofit Management and
Leadership.
Jennie Crichlow
Digital Media Manager, National Association of Charter School Authorizers
Auditing is Relevant: Non-Profits and their Web
Presence
At present, existing discourse of digital solutions focuses primarily on the operations of forprofits, and yet there is clear, statistical evidence of rapid technological adoption in the nonprofit sector. Compounding this is the lack of policy to foster best practices for cybersecurity. To
counter that imbalance, this research studies a few non-profit organizations in the United States
and examines how these organizations are actively utilizing technology to construct their web
presence. As documentation of the present digital landscape - I define terms commonly used by
software technology experts, diagram the web presence of case studies and consider project
management methods. Leveraging existing models for oversight of public funds, I propose
auditing reports for digital assets. I conclude the research by correlating the absence of policy
with recent cybersecurity attacks. As the digital landscape of non-profits continues to develop, it
is my hope that this research supports the technical applications of software with stronger
oversight practices.
Biography
Jennie Crichlow joined the National Association of Charter School Authorizers (NACSA) after
completing her MA research at the School of the Art Institute of Chicago (SAIC). Her research
investigates the role of technology in organizational development, constituent engagement
across geographical divides, and strategic initiatives. She is an advocate for culturally-specific
groups and is invested in their online representation.
Creative Communities Network SA
The role Creative Communities Network SA has
played historically in arts and culture in Local
Government and its latest project the Cultural
Indicators Pilot Project (CIPP)
This paper will draw upon the vast experience that Creative Communities Network (CCN) has
acquired by its involvement in the development, promotion and advocacy of arts and culture
both within Local Government and beyond. Examples of good practice will provide a
background for a presentation on CCN’s latest project The Cultural Indicators Pilot Project
(CIPP).
CIPP is led by five South Australian councils and Arts SA with grant funding support through the
Local Government Association SA Research and Development fund. The project hasdeveloped a
cultural indicators framework and toolkit which will enable all SA Councils to measure the impact
of cultural services and other council decisions on the cultural vitality of their communities.
Our presentation will provide an overview of the framework and toolkit and its application and
use.
In Local Government, we have always grappled with how to prove that what we do makes a
difference to people’s lives and wellbeing.
How do we know if the community is more vital, vibrant or better connected?
How do we know if our arts and culture program is helping to sustain the community and
preserve our heritage and culture?
The project has explored two main areas:
1. How to measure the effectiveness of what we do in the arts and cultural sector
2. How to measure the impact of all council decisions on the culture of the community.
The tool kit will provide the instruments necessary to gather, interpret, analyse and apply
qualitative and quantitative data relating to cultural activities, services, facilities, personnel and
budget.
Biography
Local Government has played an integral role in arts and culture in South Australia particularly
over the past 25 years. Creative Communities Network (CCN) has been at the heart of the
development, promotion and advocacy for all culturally-based activities, programs, projects,
events, festivals, public art, grants, employment, facilities, policies etc. in this period.
CCN is an informal South Australian network of Local Government cultural development workers
and representatives of key state wide arts and cultural organisations keen to support creative
communities.
Creative Communities Network has been an active network initiating state-wide projects, which
have attracted external funding and interest, including:

Creating Communities: a good practice guide to arts and cultural development (2000)

Parks Alive (2006-2010): an active program of events across the state including a guide
for Councils and community

Cultural Indicators project (2015): the development of a cultural indicators framework
and toolkit which will enable all SA Councils to measure the impact of cultural services
and other council decisions on the cultural vitality of their communities.
Matthew Ives has worked in Local Government for 17 years and has been associated with CCN
for all this period, for many years as its coordinator.
Marg Edgecombe is an artist and musician who has worked in the field of community cultural
development for the past two decades through project work as a freelance practitioner and as a
cultural development worker and manager in local government.
Both Matthew and Marg have been on the Steering Group for the Cultural Indicators Pilot
Project.
Rodrigo Cavalcante Michel
Assistant Professor Ana Flavia Machado
CEDEPLAR, Fedral University of Minas Gerais
Music and technology in outskirts: an analysis of local
production and diffusion of the tecnobrega music in
Belem
Creative industries assume distinct roles in process innovation. They can simultaneously
generate and make use of new technologies. They can be described as a set of activities,
organized in terms of production, knowledge acquisition, appropriation of symbols and cultural
ideas. Therefore, the creative industries tend to be organized horizontally, with sets of network,
rather than in production chains as a traditional industry. The relational aspects between agents
are more important in the production process than in the control of raw material source or/and
physical infrastructure etc. This paper proposes to evaluate those industries using the method of
social network analysis, emphasizing how technology creation, adoption and diffusion occur
among producers. This methodological approach is applied in the case of Brazilian popular
music genre, called tecnobrega, a mixture of popular and romantic with electronic music, widely
regarded as kitsch. This process includes the creation of songs, production of CD´s in a craft
manner, distribution by hawkers and events such as music parties. Computer technology is
essential for this practice because its ubiquitous in musical production, home record studios and
in performance. It is a typical creative industry of an urban periphery located in Belem, the
capital of the northern state, Pará, Brazil.
Biography
Rodrigo C. Michel is a current student on the doctoral program of Economics at the CEDEPLAR,
Federal University of Minas Gerais, has a master on Economics at the Federal University of
Uberlândia. Researcher on Cultural Economics, Cinematography Industry. The master thesis
relies on brazilian cinematography industry, and the recent publications and researches focuses
on production and consumption of culture (specially movies and music); urban and spatial
economics. Member of the group of research on the Cultural Economics on UFMG
Ana Flávia Machado: Assistant Professor at UFMG since 1995; Field research: Cultural Economics.
Researcher at National Research Council of Brazil – CNPq 2002/2016. Recent Publications in
Cultural Economics
MACHADO, A. F. ; Diniz, S. C. ; NASCIMENTO, J. ; MAIA, R. ; BARBOSA, Frederico Luiz de Melo .
Urban development, creative economy and solidarity production in the Metropolitan Region of.
In: RSA Global Conference 2014, 2014, Fortaleza. Anais RSA Global Conference, 2014.
MACHADO, A. F. ; GOLGHER, André Braz ; GAMA, L. D. ; Diniz, S. C. . Consumption of Cultural
goods and services and time allocation: a case of Brazilian Metropolitan areas. In: The 18th
International Conference on Cultural Economics, 2014, Montreal. Anais do 18th International
Conference on Cultural Economics, 2014.
MACHADO, A. F. ; DINIZ, S. C. ; SIMOES, R. F. . Urban amenities and the development of creative
clusters: A Brazilian case. Current Urban Studies, v. 1, p. 92-101, 2013.
MACHADO, A. F. ; RABELO, A. ; MOREIRA, A. G. . Specificities of the artistic cultural labor market
metropolitan regions of Brazil between 2002 and 2010. Journal of Cultural Economics, v. 37, p. 115, 2013.
Assistant Professor Jing Liu
Advertising Department, School of Humanities and Law, North China University of
Technology
Jianbing Xiao
Deputy Managing Director, CSM Media Research
How developing and implementing in Chinese
industry policy have affected the Chinese film market
structure, behaviour and performance
The study use the SCP (structure-conduct-performance) paradigm of industrial economics as an
analytic framework. According to the structure-conduct-performance paradigm, an industry's
performance (the success of an industry in producing benefits for the consumer and
stakeholders) depends on the conduct of its firms, which then depends on the structure (factors
that determine the competitiveness of the market). The structure of the industry then depends
on basic conditions, such as technology and demand for a product. Therefore, in order to obtain
the ideal market performance, an important way is to adjust and directly improve irrational
market structure through Industrial Organization Policy.
With the SCPP I seek to find the answer to how government regulation and culture industry
policy influence Chinese film market, in which firms compete with each other and create values.
That way, an argument can be supported on whether or not policy-maker should take action to
alter Chinese film market structure or regulate market conduct.
Dr Sheree Gregory
School of Business, Western Sydney University
Dimensions and Responses to Precariousness in
Cultural Labour: Towards a New Framework
There has been recent attention to the spread of precariousness transforming the organisation
of cultural labour today. This paper examines emergent dimensions of precariousness that have
been a lacuna in the literature, and responses to the lived-experience of precariousness among
cultural production workers, from a research project in-progress. The paper reports on data
from in-depth qualitative interviews with multiple stakeholders in film, television and theatre
production in Australia, and their perspectives of the emergent dimensions and responses to
precariousness that characterise cultural and creative working life today. A typology of emergent
dimensions of precariousness is presented as a new framework for considering workers’
subjectivities that have been relatively under-explored: Gendered; Familial/Caring;
Household/Domestic; and Entrepreneurial. The typology provides an intersectional perspective
on how gender intersects with family/caring dimensions, unpaid household/domestic labour
concerns, and entrepreneurial activity often undertaken among actors to subsidise their income.
The framework raises critical questions about agency, flexibility, individualism orthodoxy and the
industrialisation of bohemianism. It has implications for labour unions organising and
representing cultural workers today.
Biography
Dr Sheree Gregory is an academic at the Western Sydney University Business School with a track
record in family business entrepreneurship and Human Resource Management, particularly
work/life and gender equity issues. She has been awarded funding as an Early Career Researcher
to examine how performers manage precarious work and family responsibilities (with the Media
Entertainment and Arts Alliance), and currently, to explore the barriers to women’s
employment in cultural industries with a focus on filmmaking and film directing (together with
Deborah Stevenson). In 2014, Sheree co-Convened the Work-Life in the Creative Economy
th
Symposium in Melbourne, for the 75 year of equity in Australia. She Chaired the Equity and
Diversity panel of performers, managers, playwrights. Sheree has published her research on
entrepreneurship and women and work in top-tier journals in Australia and internationally.
Sheree serves as Reviews Editor of Media International Australia journal.
Assistant Professor Antonio Cuyler
Arts Administration & Coordinator of Internships, Florida State University
An Exploratory Study of Demographic Diversity in the
U.S. Arts Management Workforce
Arts managers connect audiences to the greatest artistic achievements of humankind. Yet, the
cultural sector and public know little about their demographic makeup in the U. S. People of
color currently make up 36% of the U. S. population, with an expected growth spurt to 50% by
2042 (Dubose, 2014). In addition, people with different abilities make up 19% of the U. S.
population (U. S. Census Bureau, 2012). Unfortunately, the U. S. Census Bureau does not collect
data on LGBTQ+ individuals, however a study conducted by the Center for Disease Control
projects that 4.6% of the U. S. population identifies as same gender loving (Ward et al., 2014). If
demographic shifts will increasingly challenge the cultural sector, it is imperative that it
evaluates the current level of diversity among arts managers to develop goals and outcomes to
achieve greater diversity that will more accurately reflect U. S. society. Therefore, with N=575,
this paper will describe the ability, educational backgrounds, ethnicity/race, gender, and sexual
identity of current U. S. arts managers.
Biography
Dr Antonio C. Cuyler is Assistant Professor of Arts Administration & Coordinator of Internships
at Florida State University. His research interests include Arts Administration Education and
Cultural Policy.
Dr Georgie McClean
Senior Manager of Strategy & Communications, Screen Australia
The new cultural value of local screen content
How should we understand the cultural value of local screen content?
1
Australia’s screen storytelling has long been the beneficiary of public support and structured
public funding. There is an implied social and cultural value to a successful industry generating
culturally relevant local stories – beyond the economic impact and creation of jobs to the impact
on the ‘hearts and minds’ of Australians and how we are perceived overseas.
In 2013, Screen Australia commissioned a study by the Mind & Mood Report (from Ipsos
Australia) into Australians’ thoughts, feelings and experiences of local screen stories. The
research highlighted that we value our screen stories because we can relate to them; we can
learn from them; our stories are perceived as becoming more diverse and sophisticated; and we
take pride in the creativity and ingenuity of local filmmakers.
2
Of course there are many economic and employment arguments made about the contribution
3
of screen production to the local economy. Foreign Minister Julie Bishop, along with new Arts
and Communications Minister Mitch Fifield, in announcing the securing of two major Hollywood
films – Warner Brothers’ Thor and Ridley Scott’s latest – to shoot in Australia, declared
$300million in benefits to our economy and 3,000 jobs, also referencing benefits to cultural
diplomacy and signalling of our place in the huge global business of content production.
4
However, it is the creation of local content – TV drama and documentary, independent film and,
increasingly digital production – that is the bread and butter of the screen industry and forms
the rationale at the heart of most structures of government support.
The core principle that underpins all of this support – including Screen Australia’s direct
funding and the producer offset tax incentive – is that local content gives Australian audiences
something vitally important that they don’t get elsewhere.
There are many ways of understanding how we benefit from local content. These range from
straightforward advocacy of choice and resources for education, to arguments about innovation
and the creative industries to understandings of on-screen storytelling as resources for the
development of cultural identity and social-self understanding via active and social watching
and reflection.
Screen content remains the most popular of our cultural forms: cinema attendance is our most
5
popular leisure activity undertaken by 66% of the population, television remains pastime
1
http://www.screenaustralia.gov.au/getmedia/4972fa65-caa5-4235-86be-1800e4a2815b/rpt_whatto
2
https://www.screenaustralia.gov.au/research/hearts_and_minds.aspx
3
See, eg http://www.screenassociation.com.au/uploads/reports/ASA_Economic_Contribution_Report.pdf
4
http://foreignminister.gov.au/releases/Pages/2015/jb_mr_151022c.aspx
5
http://www.abs.gov.au/ausstats/[email protected]/latestProducts/4114.0Media%20Release12013-14
6
7
enjoyed by 93% of Australians, at around three hours a day, rapidly complemented by digital
as a key part of our media diet, with over 50% of Australians now watching video online.
8
There has been a move amongst broadcasters, film distributors and producers and, perhaps
most markedly, in the digital content creators, to measuring the impact of content, and
audiences’ engagement with it, far beyond the moment of viewing. The ways audiences
anticipate, reference, share, recommend, and reflect on content are becoming key to the ways
audience engagement is now described and understood.
Increasingly broadcasters are talking about being ‘catalysts for national conversation’ or
‘must watch’ moments with brand-building local content. New ways of measuring
engagement via, for example, combined twitter and TV ratings, social chat and outreach
outcomes have become key considerations for local content. Independent feature films are
using targeted bespoke campaigns, regional red carpet premieres and community partnerships
to build audience engagement with feature films above and beyond traditional marketing
campaigns. Digital, with its inbuilt ability to measure and track the minutiae of audience
behaviour is pioneering new forms of ‘social listening’ to understandings of audience
motivation far more deeply.
From the bald metrics of ratings and box office, audiences are re-emerging as people, with rich
individual life-worlds, in understandings of impact and engagement. This trend is breathing new
life into understandings of cultural value and relevance.
Screen Australia is developing new ways to understand pathways to audience, now building
these into our funding guidelines. The agency is also supporting the industry to innovate in new
models of distribution and promotion that engage audiences well in advance of the moment of
release. This paper will canvas some initiatives that are seeking to build new capacities in the
screen industry to think about audiences in different and more agile ways. We are starting to
engage more fully in what content does for people and what people do with it. This shift is
starting to influence how we think about, measure and advocate for, the cultural impact and
value on on-screen storytelling.
Biography
Dr Georgie McClean is Senior Manager of Strategy, Research and Communications at Screen
Australia, Australia's primary screen sector funding agency. In this role she helps lead discussion
about Australia’s screen industries, including the film, television, and online production sectors
and changing audiences for screen content. Her responsibilities include stakeholder
relationships, publications, events and submissions to Government with a strong evidence base,
6
Roy Morgan Participation data
Nielsen Connected Consumers report 2015
8
Screen Australia, Online and On Demand: Trends in Online Video Use
https://www.screenaustralia.gov.au/research/video_on_demand.aspx
7
including audience trend analysis, industry and production tracking and engagement with new
technologies.
Prior to 2013, she was the Manager of Policy, Research and Community Engagement in the
Strategy and Communications team at SBS, in which she initiated and managed many projects
that developed new relationships and areas of expertise for SBS. She has held a range of other
roles in the arts including curating galleries, publishing writing anthologies and managing
events.
She has a Doctorate in Cultural Research from University of Western Sydney, a Masters in
Communications from RMIT University and a Bachelor of Arts from Melbourne University and
gives guest lectures in all of these universities. She is on the advisory board of the Institute for
Culture and Society at UWS. She has lived, studied and worked in Indonesia, Argentina and
Japan.
Professor Martin Tröndle
Zeppelin University, Friedrichshafen, Germany
Professor Volker Kirchberg
Institute for Sociology and Cultural Organization (ISCO), Leuphana University
Lüneburg, Germany
Professor Wolfgang Tschacher
University Hospital of Psychiatry and Psychotherapy, University of Bern, Switzerland
Is This Art? An Experimental Study on Visitors'
Judgement of Contemporary Art
‘Is this art?’ is a question often raised by museum visitors when encountering contemporary
artworks. But what factors influence museum visitors’ judgement on contemporary art? To
what extent do visitors’ prior knowledge, socio-demographic background, emotional
experiences, and specific aspects of the artwork itself, influence their judgements? In the context
of the Swiss National research project eMotion – Mapping Museum Experience, we investigated
these questions experimentally. The site specific intervention created by the renowned artist
Nedko Solakov in the St. Gallen Fine Arts Museum allowed us to conduct such a concrete
experiment. We interpreted the findings by statistical analyses of the data gathered from entry
and exit questionnaires (n=291) in view of sociological art theories dominant in the last few
decades. Against theoretical expectations, we found that the judgement art/non-art was driven
by several factors not anticipated by those theories. Keywords art, art experience, psychology of
art, sociology of art, empirical aesthetics, aesthetics judgements, audiences, art galleries, art
reception, cultural consumption, experimental methods.
Emma Winston, Honours student
Professor Ruth Rentschler, Chair Arts Management, Deakin University
Dr Fara Azmat, Senior Lecturer
Dr Ahmed Ferdous, Lecturer
Deakin University
Examining how Muslim and non-Muslim visitors and
non-visitors create value for an Islamic museum
This study examines consumer/visitor resource integration and co-creation of value, in the
context of culturally diversified museums (e.g., Islamic museums). The study addresses the gaps
in the literature concerning how visitors/non-visitors co-create value with museums resulting in
greater value outcomes at individual, community and societal level. Visitors’ motivations and
inhibitors for attendance at museums are also incorporated in the context of value co-creation.
Using four focus groups with museum visitors and non-visitors, both Muslims and non-Muslims,
provides a rich, deep profile of co-creation. Results show that museums develop value at
individual, community and societal levels. The paper also presents a set of propositions and
directions for future research.
Biography
Emma Winston completed her honours year at Deakin University in 2015.
Ruth Rentschler is Chair Academic Board and Chair Arts Management at Deakin University. She
is widely published in quality international journals, as well as publishing books and research
reports for government and industry.
Fara Azmat is senior lecturer in management at Deakin University with expertise in cross-cultural
management and social entrepreneurship.
Ahmed Ferdous is lecturer in marketing at Deakin University with expertise in co-creation of
value.
Louisa Norman
Performing Arts Coordinator, Country Arts SA
Steve Mayhew
Creative Producer, Country Arts SA
Sam Haren
Creative Director, Sandpit
The changing digital landscape in regional
performance: evolve or die?
What opportunities can digitalization offer the performing arts? In an increasing online world
how can live performance stay relevant for regional audiences?
The panel will outline some case studies where Country Arts SA is using digital technology to
benefit both artists & audiences in regional South Australia:
1.
Digital integration into live work
Country Arts is pioneering residency & performance creation with integrated digital
components including a current residency in Roxby Downs with Sandpit digital creative agency.
2.
Audience engagement opportunities
What opportunities does online technology offer to connect artists & audiences?
Country Arts is using live streaming applications such as Periscope to create new audience
models and also created apps for community-led dance engagement.
3.
Digital distribution
The digitalisation of culture presents an opportunity for Australian arts companies to engage
new audiences interstate & abroad and for co-working relationships to be built and sustained
online.
Captured live theatre performances screened in cinemas or at home allow geographical barriers
to be broken down and new audiences reached. How could this benefit audiences & artists in
regional South Australia?
Biography
Louisa has worked as a theatre producer for the past 15 years, initially in the UK before moving
to South Australia in 2013. In the UK she has worked for some leading companies including
Headlong Theatre, Clean Break & Soho Theatre.
Independently she has produced work in the West End & in a range of community settings
including Palestinian refugee camps, women's prisons and children's hospitals. As one of the
founders of Stellar Network in the UK she pioneered a range of professional development for
actors, writers & producers working in theatre, tv and film helping them to work more
collaboratively between their industries & create cross platform projects. At Country Arts SA she
has developed a range of marketing & audience development strategies using online
engagement. She has also initiated a successful film program Arts on Screen bringing captured
live performances to regional audiences.
Steve began working as a freelance theatre director fresh from Flinders University Drama Centre
in the early 1990’s with community and youth orientated arts companies such as Urban Myth
and Junction Theatre. Over a period of eight years he took lead managerial roles as Artistic
Director of Riverland Youth Theatre (1996 1998), Manager, Artistic Programs of Junction Theatre
(1998 2000) and General Manager for Brink Productions (2001 – 2004).
In 2005 Steve returned to freelancing and covered broad territory as Creative Producer forthe
2005 and 2006 Adelaide Cabaret Festival and Special Events Program Coordinator for the
Adelaide Fringe 2006. He was the recipient of the Australia Council’s 2005 Camden Head
Community Cultural Development Residency and in 2006 he spent three months at the Hong
Kong Fringe Club on an Asialink residency. He returned to the Hong Kong Fringe Club in 2008 to
guest curate their Australia On Stage program. In 2009 Steve directed the installation
performance work 'Bedroom Dancing' for Restless Dance Theatre inclusion in that year’s Come
Out Festival program. The work won the 2010 National Dance Award for best Community /
Youth Dance project. Steve’s extensive involvement across the spectrum of the arts; in
management, the development of new theatre based works as a director, writer, designer,
composer, dramaturge and creative producer means he is also often sought as an outside eye /
dramaturg for self devised multi art form works. He maintains regular collaborations with South
Australian artists.
Sam is a Creative Director of Sandpit. From 2002 - 2012 he was Artistic Director of The Border
Project, and directed/codirected all of the company’s work in this time. His directing credits
with The Border Project include I Am Not An Animal with Daniel Koerner (Adelaide Festival
2012), HalfReal (Local Stages, Malthouse Theatre & Melbourne Festival 2011), Escape from
Peligro Island ( Windmill Theatre & Come Out 2011), Vs Macbeth (AdelaideFestival 2010 &
Sydney Theatre Company) Disappearance (iNSPACE 2008), Trouble on Planet Earth (Adelaide
Fringe 2008). For Windmill Theatre, he has directed Plop! and Grug . He also codirected Skeleton
with Larissa McGowan (Adelaide Festival 2013 & Dance Massive/Malthouse), directed and
choreographed Theatrical Trailer for Alien 5 (ADT Ignition2007 & 2008) and The Game is Not
Over (ADT Ignition 2006), The Station/At the Statue of Venus (State Opera SA 2006), Fronteras
Americanas (Kultour 2003) and with Steve Mayhew created Super Dimension Fortress One
(Remote Telemetry Dialogues 2004).
PARALLEL PAPER SESSIONS 4
Professor Kevin Mulcahy, Sheldon Beychok Distinguished Professor of Political
Science
Thomas Naquin, Undergraduate Research Assistant
Louisiana State University
The Legacy of Hegemony: Coloniality, Identity and
Cultural Policy
This essay will review the major themes that have informed cultural policies given the legacy of
coloniality using case studies from both Ukraine and Catalonia. What will be discussed herein
are the ideological arguments and developmental imperatives that couple cultural sovereignty
with political independence. Such cultural policies are not simply about support for the arts, but
entail addressing major political concepts and redressing legacies of coloniality. What should be
clear is that these cultural policy issues are not just found in imperial dependencies, but also in
regions that have been absorbed into modern states as a part of their nation-building
experiences. Moreover, the experience of coloniality is not restricted to the former colonies of
the so-called “developing world,” but can also be found in the “internal colonies” of
developed countries as well. At root, coloniality is an experience involving dominating influence
by a stronger power over a subject state. However, this is not just a matter of external
governance or economic dependency, but of a cultural dominance that creates an asymmetrical
relationship between the “center” and the periphery,” between the ruling “hegemon” and
the marginalized “other.”
Biography
Kevin V. Mulcahy is the Sheldon Beychok Distinguished Professor of Political Science and Public
Administration at Louisiana State University. He is the co-author or co-editor of six books,
including Public Policy and the Arts and America’s Commitment to Culture, as well as more
than fifty scholarly articles and books chapters. He has been an Executive Editor of the Journal of
Arts Management, Law and Society for seventeen years.
Thomas Naquin is an Honors Undergraduate Research Assistant to Dr Mulcahy at Louisiana
State University. He will commence law school in the Fall of 2016.
Gerardo Morantes
Research Assistant, University of Puerto Rio Piedras Campus
Colonial-postcolonial relationships of power and
culture under the colonial discourse: orientalism and
imaginary constructions
The following essay is based on the concepts of imaginary constructions of Walter Mignolo and
orientalism by Edward Said. Both terms analyze the construction of imitations or depictions of
aspects of colonies trough cultural production and how this construction transitions from the
academic discourse, to the collective imaginary of societies and finally to individuals in more
tangible aspects such as economy, race, conscience and finally how this guarantees the
continuum of a relationship of power where the colonizer, on account of their “superiority”
controls the colony, even by consensus.
Biography
Gerardo Morantes is graduated in Social Communications with a major in Audiovisual
Production in the University Rafael Belloso Chacín at Maracaibo, Venezuela. He worked at the
communications and special events department of Centro de Bellas Artes at the same city
organizing Asian related cultural activities such as Trasnocho Otaku, Japanese Film Festival, and
currently Kawa no ishi at Puerto Rico where he is studying a Master in Cultural Management and
Administration at the University of Puerto Rico, Río, Piedras Campus.
Assistant Professor Kevin Slivka
Art Education, University of Northern Colorado
Critical Place and Institutional Representation with
American Indian Art: Crisis, Nullification, Affirmation
Artifacts in the form of art works including but not limited to: paintings, sculptures, ceramics,
baskets, garments, ceremonial objects, and other material culture on exhibit and/or a part of the
permanent collections found at the Leanin Tree Museum, located in Boulder, Colorado and the
Denver Art Museum, located in Denver, Colorado, United States of America will be discussed.
Particularly, I intend to present ethnographic research findings conducted over three months
based upon open-ended interviews with artists, curators, and docents, types of artifacts
exhibited, the discourse used to describe and inscribe them, and physical proximity to other
artworks and access to visitors. Additionally, this museum based study is formulated upon
institutional framings and perceptions of power/knowledge dynamics between representation
and artist-intentions for producing artworks. I intend to present commonalities and differences
between content, intent, and ways in which American Indian peoples and their cultures are
represented and considered by the artist(s) and as they are represented by the institutions. Both
sites establish a representational field in which breadth and depth of American Indian artists and
their works are examined, as a means aid decolonization of dominant frameworks of
understanding and advocate the importance of Indigenous knowledges.
Biography
I conducted archival research at the Cumberland Historical Society, located in Carlisle, PA (USA)
of American Indian students’ artwork produced while attending the Carlisle Indian Boarding
School between late 19th and early 20th centuries. This research was published in Studies in Art
Education, one of the premiere journals for the Art Education discipline [20-30% acceptance
rate] and presented at local and national level conferences. I have a record of consistent
dissemination at invited and juried conferences [2010 - 2015] concerning American Indian
artists’ work, Ojibwe artists’ processes and influences, and methodological concerns and
approaches of intercultural art research. I presented at the Ethnographic and Qualitative
Research Conference (2014) based upon my multi-sited ethnography with northern Minnesota
Artists, fulfilling my dissertation for the Pennsylvania State University. Research results were
recognized with an Honorable Mention by the American Educational Research Association
(AERA) Arts and Learning SIG (2014), for significance to the field of art education. Furthermore, I
was awarded by the Pennsylvania State University, School of Visual Arts, with the Harlan Hoffa
Dissertation Award (2014). Recently I presented two conference papers at the U.S. National level:
American Education Research Association (AERA) and the National Art Education Association
(NAEA) in 2015.
Professor Aurélie Lacassagne
Department of political science, Laurentian University, Canada
Landscape of the Canadian cultural policies towards
Aboriginal peoples: persistence of colonial logics and
resistance from artistic communities
The federal state of Canada and the Canadian provinces share jurisdiction in the cultural policy
sector. Both institutional actors have also developed specific cultural policies, or at least specific
programs, in order to support cultural and artistic Aboriginal organizations. I propose first to
present a landscape of these different initiatives. A closer examination of these policies and
programs show that some colonial logics persist. In particular, it singles out Aboriginal artists
and cultural organizations with an implicit thought that they are subsidized because they are
Aboriginal, rather than because of their aesthetic intrinsic qualities and originality. Moreover, the
state continues then to define who meets its criteria in defining who is Aboriginal; a continuous
and highly controversial issue between the state and Aboriginals. Finally, it locks up Aboriginal
artists in a close box and prevents creolised aesthetic forms of arts, as well as partnership
between different groups, processes that could actually create a real and fruitful dialogue
between the various communities. After this postcolonial critique, I will conclude by highlighting
two artistic projects, Nowhere du Nord and West Wild Show that can be seen as forms of
resistance to these logics.
Biography
Aurélie Lacassagne holds a PhD in political science from Science Po Bordeaux (France). She
teaches at Laurentian University in the department of political science (Canada). Her research
agenda focuses on social theory (particularly Eliasian sociology and postcolonialism); identity
issues; Franco-Ontarian literature; cultural studies and cultural policies. She is the co-editor of
Investigating Shrek: Power, Identity, and Ideology (Palgrave, 2011), and a forthcoming book with
Jonathan Paquette on Governance and Terroir. She also published many articles in various
journals such as the European Journal of Cultural Studies, the International Journal of Cultural
Policy and Culture and Organization.
Professor Alan Salzenstein
DePaul University
Pursing the Next Trend: Exchanging Mission
Relevance for the Flavor of the Month Initiative
Are arts organizations increasingly under a mandate to become service organizations? Do
organizations exist to focus on their aesthetic mission (as is commonly understood) or is there a
growing expectation to effect social change? In times of amplified significance on sustainability
and the continual search for the next funding opportunity, arts organizations are, arguably,
splitting focus in order to pursue social agenda dictated by external partners. Community
outreach, once considered tangential to artistic programming as an audience development
strategy, is now a predictable central core function of many arts organizations, building upon
and responding to funding prospects with social change priorities (e.g. community engagement
and creative placemaking). These initiatives, while laudable efforts for societal transformation,
integrate the arts and its creators as tools for the greater good without regard to mission
alignment. Arts creators and providers are increasingly under “directed attention fatigue” as
they attempt to balance social endeavors with their primary mission. This paper will examine the
current dialogue surrounding external influences and mission divergent programming,
incorporating empirical research underscoring targeted arts organizations and their
perspectives.
Biography
Alan Salzenstein is President of the Association of Arts Administration Educators (AAAE) and
Professor at DePaul University in Chicago, as head of the MFA Arts Leadership and Performing
Arts Management programs. He has been Executive Director for many arts organizations and
has a thirty-year history as a theatrical producer. Salzenstein has been a frequent guest speaker
having presented across North America, Europe and Asia, including as keynote at the ENCATC
conference in Brno, Czech Republic. He is a member of the Bar of the State of Illinois, having
received his J.D. from the Illinois Institute of Technology - Chicago Kent College of Law and his
B.S. from the University of Illinois.
Dr Helen Rusak
Senior Lecturer, Arts Management, Western Australian Academy of Performing Arts,
Edith Cowan University
Corporate Entrepreneurship in the Arts in Western
Australia
In this paper I will argue that entrepreneurship is central to the mind of the arts manager in
building capability and creating value. I will focus upon the arts sector in Western Australia and
how it sustains its artistic vibrancy through entrepreneurial management in one of the most
isolated cities in the world.
The original notion of entrepreneurship, defined by the economist Schumpeter
(1934), considered entrepreneurship as identical with innovation meaning “creative
destruction” by putting new products in place of old for economic gain. The economic benefits
of entrepreneurial activity in the creative industries has become central to government policy in
the arts in recent decades, as the rhetoric of a cultural economy becomes persuasive in the
policy chamber (Throsby, 2010).
I examine arts companies in Western Australia in an effort to identify entrepreneurial orientation
(Dess & Lumpkin, 2005; G Tom Lumpkin & Dess, 1996; George T Lumpkin & Dess, 2001; Rauch,
Wiklund, Lumpkin, & Frese, 2009). The approach by arts organisations is two pronged as there is
both innovation involved in artistic programming and in the approach to management. I will be
addressing where entrepreneurial characteristics can be identified in the management process
in arts companies in Western Australia.
Biography
Helen Rusak [PhD, Grad Dip Arts Management, A.mus.A] has presented and published on music,
the arts and new media. She has broad experience in arts management practice and has held
senior government advisory roles. She was Acting Program Director for the Arts and Cultural
Management, School of Management, UniSA. She is currently Senior Lecturer & Course Coordinator, Arts Management, Western Australian Academy of Performing Arts.
Dr Abigail Gilmore
Senior Lecturer, Arts Management and Cultural Policy, University of Manchester
Measuring Quality through Shared Metrics:
Collaboration, Evaluation and Data Culture in the Arts
This paper explores the question of how arts organisations and cultural organisations
understand and demonstrate the ‘quality’ of their work. It presents findings from a digital
R’n’D project in the UK funded by NESTA, Arts and Humanities Research Council and Arts
Council England. This collaborative project involved a technology partner, Culture
Counts/Pracsys, based in Australia/UK, a research team from University of Manchester, and a
consortium of organisations testing the Culture Counts digital platform for evaluation. The
project aimed to identify how a model which brings together evaluation data from different
stakeholders (peers, critics, funders, audiences and the organisations themselves) can improve
the decision making of arts organisations, and support a ‘data culture’ based on coproduction, ‘big data’ and ‘open data’.
The paper will present findings from qualitative interviews and participant observation
undertaken, which explored the processes of developing, agreeing and implementing a shared
‘metric system’ for value, and the ways in which the organisations use the data, in the context
of increasing pressure to provide evidence of the value of their work in a climate of decreasing
public funding. It does so from a critical cultural policy studies perspective, drawing on academic
and grey literature on performance management and evaluation.
Biography
Dr Abigail Gilmore is Senior Lecturer in Arts Management and Cultural Policy and part of the
Institute for Cultural Practices at University of Manchester, UK. Her research concerns the
organisation of local cultural policy, management and participation and involves collaborative
initiatives with cultural partners to inform teaching, knowledge exchange and public
engagement. Current projects include: AHRC Connected Communities ‘Understanding
Everyday Participation – Articulating Cultural Values’ and AHRC Research Network Beyond the
Campus: Higher Education and the Creative Economy. She leads the Research partner team on
the NESTA/Arts Council England/AHRC Digital R&D Fund for the Arts project, ‘Culture
Metrics’.
Dr Rachel Shane
Director, Arts Administration Program, University of Kentucky
B4C: Redefining Mission-based Organizations
The phrases “business-to-consumer,” also known as B2C, and “business-to-business,” B2B,
have had a place in the vernacular of the retail commerce for decades. But where do missionbased nonprofit organizations fit into these models? Often, mission-based organizations are
both B2C and B2B. Mission-based organizations are typically in the “business” of providing a
service or product to a consumer-based market like education, health care, or arts
performances. Yet the B2B market is also critical as mission-based organizations connect with
companies for sponsorship, grant funding, and in-kind donations. This presentation proposes a
new model for mission-based organizations that unites the B2C and B2B paradigm for missionbased organizations called “business for community” or B4C. This new model posits that B4C
nonprofits are a crucial element to communities and the ability of B4C organizations to thrive is
based on the successful adaption of theories from both the B2C and B2B mindset.
Biography
Dr Rachel Shane is the Director of the Arts Administration Program at the University of
Kentucky. Dr Shane is responsible for overseeing the administration of two degree programs,
the BA in Arts Administration and an online MA in Arts Administration, for over 145 students.
She teaches face-to-face and online courses at both the undergraduate and graduate level on
marketing, financial management, fundraising, nonprofit management and legal issues in the
arts. Additionally, she supervises experiential learning activities for students in both degree
programs. Dr Shane has published articles including Resurgence or Deterioration? The State of
Cultural Unions in the 21st Century, Deaccessioning: A Policy Perspective, and Inciting the Rank
and File in Journal of Arts Management, Law and Society and the American Journal of Arts
Management. She earned a PhD in Cultural Policy and Arts Administration at The Ohio State
University. She also earned a Master of Science in Arts Administration from Drexel University, a
Bachelor of Science in Theatre from Northern Arizona University, and an A.A. degree from the
American Academy of Dramatic Arts.
Rachel Smithies
Acting Director, Research Evaluation and Data Analysis, Australia Council for the
Arts
Daniel Fujiwara
Director, Simetrica
Valuing arts engagement using Subjective Wellbeing
Analysis
This paper reports on new analysis of the relationship between people's engagement with the
arts and their levels of subjective wellbeing. This is the first such analysis done using Australian
data. The paper compares Australian findings to those from the international literature, and
discusses the potential uses of subjective wellbeing analysis as a method for valuing the arts, as
well as the limitations of this approach.
Biography
Rachel Smithies has worked across a range of public policy research fields, most recently in arts
policy as Director of research at the Australia Council for the Arts and previously at Arts Council
England. Prior to this Rachel was a Research Fellow with the Wellbeing programme at the Centre
for Economic Performance, London School of Economics. She holds an MSc in Social Research
Methods and Social Policy from the London School of Economics, and a BA (Hons) in Public
Policy from Victoria University (NZ).
Mandy Whitford
Acting Manager Industry Analysis, Australia Council for the Arts
Building capability through data: Australia Council's
Arts Nation report and industry analysis program
In March 2015 the Australia Council for the Arts launched its inaugural report Arts Nation: An
Overview of Australian Arts. Arts Nation provides a fresh approach to understanding the arts
through a new set of national indicators that are measured through original and existing data. It
also identifies data gaps, so the report will evolve over time as new information is identified and
to respond to sector feedback. Arts Nation is intended as a catalyst for discussion and a resource
for the sector, and is a key part of the Australia Council’s commitment to increasing the
evidence base for the arts.
Key findings will be presented on the report’s five themes: Australians experiencing the arts,
artists and the arts, Australian arts internationally, Aboriginal and Torres Strait Islander arts, and
the cultural economy. Council’s industry analysis work program to build on the first report will
also be outlined. Collaboration will be central to the growth and development of the industry
analysis program as the Australia Council works with the sector to fill data gaps and build a
comprehensive picture of the arts.
Biography
Mandy Whitford holds an Advanced Diploma of Arts (Acting), a Bachelor of Behavioural Science
(Psychology), First Class Honours in Cultural Sociology, and was a University Medallist at Flinders
University where she worked in the Sociology Department. Mandy has also completed the
Australian Bureau of Statistics Graduate Program and worked in refugee research, settlement
services and advocacy. Prior to joining the Industry Analysis team at Australia Council for the
Arts in 2014, Mandy spent several years working in the Indigenous Culture Branch at the
Australian Government’s Ministry for the Arts where she developed a performance framework
for the Indigenous arts and culture funding programs, built the evidence base about the
importance of support for Indigenous arts and culture, and worked to influence greater
recognition of culture in Indigenous affairs. Her current role at the Australia Council brings
together her love for arts and culture with her love for research, and for using data to tell a story
to inform policy and support advocacy.
Hyesun Shin
Visiting Scholar/PhD, The Ohio State University
Surfing the High Tide of Scientific-Based Research in
the Arts Sector: Reframing Qualitative Research as
Mixed Methods Research
The use of ‘big data’ and scientific-based research is common in many academic disciplines.
However, research on the social impact of the arts and culture often relies heavily on empirical
narratives and has been criticized for its lack of evidence (Gallaway 2009). Although the intrinsic
values inherent in the arts and culture are hard to quantify, some researchers have attempted
methods to measure the economic impact of and participation in the arts and culture by
introducing a positivist approach and numeric evidence.
Acknowledging the need for a new approach in the domain of arts administration and policy, I
will use my dissertation project on North Korean defector arts groups to discuss how Mixed
Methods Research can be applied. My dissertation was originally designed as qualitative
research that adopted the grounded theory approach to analyze collected data. As a
supplemental method, the dissertation also included a modest size survey of the audiences.
Also, I will discuss how this change from qualitative to qualitative-driven Mixed Methods
Research can enrich the understanding of the subject matter in the arts sector.
Biography
Hyesun Shin, originally from Seoul, South Korea, is a visiting scholar at the Department of Arts
Administration, Education, and Policy at The Ohio State University after receiving her PhD
degree in Arts Policy and Administration at the same institution. In 2009, she graduated from
American University with a M.A. in Arts Management by completing a thesis titled “Trends in
Funding for International Artists Exchange between the United States and the Middle East.” She
has published an article, “Post-9/11 International Artist Exchanges between the United States
and the Middle East,” in Journal of Arts Management, Law, and Society in 2013. She also has
co-worked a research paper—“Market Segmentation of Musical Audience-Focused on
University Students”—published in Journal of the Korea Contents Association in 2006. Shin has
gained her field experience by working with the Embassy of the Republic of Korea, the DC
Commission of the Arts and Humanities, Sitar Arts Center and more. She also served as a
Graduate Teaching Associate for three years. Currently, Shin’s research interests include trust,
soft power, arts exchanges, philanthropy, and research methodology.
Dr Bianca Price
Lecturer, UniSA College, University of South Australia
An examination into visitor and competitor
perceptions of event quality and overall satisfaction
at an equestrian event
There have been a number of studies that have examined satisfaction at sporting events with the
most focusing on the spectator/ visitor satisfaction rather than the satisfaction of competitors
(for example, Cunningham & Kwon, 2003). Although participant’s satisfaction with an event
has been explored, this has generally been from the perspective of participants at small scale
event (for example, Kaplanidou & Gibson, 2010), or alternatively a large scale event such as a
marathon (Gillet & Kelly, 2006). However there appears to be a gap in the literature surrounding
elite participant perspectives including how satisfied they are and their intention to return to an
event. This is an important area to investigate as high level events for elite participants, such as
Olympic qualifying events, are often fiercely competed for by world cities or locations. An event
that satisfies the competitor at the wider level, should consequently have an advantage in
continuing to host that event for many top level competitors.
This study focussed on three areas of the elite competitor at an event, firstly what are
competitors key motivations as per Caro & Garcia (2007), secondly, how do competitors
perceive the quality of the event compared to participants perceptions and finally identify if
competitors motivations and perceptions of the service quality of an event influenced their
satisfaction and ultimately their likelihood to return to the event as per Shonk & Chelladurai
(2008).
251 spectators and 45 competitors participated in the study at an international 3 day equestrian
event that was also an Olympic qualifying event. Results suggest that the key motivation for elite
participants was intrinsic, the pleasure they gain from participating and competing, with extrinsic
motivations, such as to qualify for the national squad, having secondary importance.
Competitors and visitors held similar perceptions of service quality at the event, although
timetabling and entertainment was perceived more negatively by competitors. Motivation was
found to significantly predict satisfaction of competitors, being mediated by aspects of service
quality. Most notably, the design of the course/facility was found to significantly mediate the
association between intrinsic motives and the satisfaction of the competitor. Implications for
sports that have multiple event choices for competitors, such as tennis, are also discussed.
Biography
Bianca is a Lecturer in Foundation Studies the UniSA College. Bianca holds a PhD in Business
awarded 2010. Her thesis entitled, “Questioning the Halo: Exploring the role of physical
attractiveness for women in the staff customer interface” is an eclectic dissertation, drawing on
elements of advertising theory, psychology, consumer behaviour, as well as general
management and marketing theories.
Prior to her studies and employment with UniSA, Bianca was an Associate Lecturer with the
University of Queensland. In addition she has taught in a variety of leisure, event, sport and
tourism management programs at Griffith University and the Queensland Institute of Business
and Technology.
Beyond her research and teaching, Bianca has been employed as the Senior Events and
Recruitment Officer in the Division of Information Technology, Engineering and the
Environment. In addition Bianca was also employed in the Executive Management team at the
University of Southern Queensland. She is passionate about events and specifically interested in
generating student engagement while studying at University. Having been involved in service
learning programs, practicums as well as coordinating countless events and activities, Bianca
aims to improve the tertiary student experience through student-based events and activities.
Nakyung Rhee
Doctoral Student, The Ohio State University
The role of Museums in aging society: a review of arts
and aging programs in the US
The purpose of this research is to identify the current and potential role of museums (and
museum-like organizations) in delivering the benefits of arts participation and lifelong learning
to older audiences to support creative aging. This study uses National Center for Creative
Aging’s (NCCA) Directory of Creative Aging Programs in America and the Age Friendly NYC
initiative’s NYC Arts Cultural Guide for Seniors to explore how arts and aging programs are
currently provided. Particular attention is paid to the current status of aging issue in the museum
sector by operationalizing the concepts, methods and languages used in the field.
Using the conceptual mapping method, this study aims to develop a holistic understanding of
arts and aging (creative aging) programs in the US and shed light on the issues that may be
common to museums’ and other senior serving organizations’ efforts and perspectives.
This study may help to develop a general framework that can be used by museums and similar
organizations to successfully engage with this demographic. The findings of this study will,
thereby, help to develop a general framework that can be used by museums and similar
organizations to successfully engage with this demographic.
Biography
Nakyung Rhee is currently a doctoral student in the Arts Administration, Education and Policy
program at the Ohio State University (OSU) in USA, taking specializations in Museum Education
and Administration, and in Aging. She is interested in how museums can more successfully
communicate and engage with older audiences for years to come and how museums can be the
venue for creative aging.
She majored in Business Administration and minored in Art History at Ewha Womans University
in Seoul, Korea. She earned her M.A. degree in the Arts Administration, Education and Policy at
the OSU. Her master’s thesis was a study of alternative perspective on the aging population
and the challenges and opportunities for museums and arts organizations. Nakyung has
internships experience with museums as a docent and program assistant. She interned at the
Museum of Art at Seoul National University where she was in charge of audience development
and membership development. She also had been a recipient of 2011 & 2012 the Lawrence and
Isabel Barnett Fellowship.
Dr Pieter de Rooij
Marcel Bastiaansen
Senior lecturer / researcher, NHTV Breda University of Applied Sciences
Understanding and measuring consumption motives
in the performing arts
Currently, there is no common understanding on categorizing, conceptualizing and measuring
consumption motives in the performing arts. The current literature is fragmented and
incomplete. This paper presents two studies. Study one presents the results of 47 semistructured in-depth interviews. The results deepen the understanding of consumption motives.
A new framework consisting of cultural and social motives is introduced. This framework is
tested in the second study. Here, a quantitative instrument is developed to measure
consumption motives. The results of the latter study refine the framework and demonstrate nine
consumption motives.
Biography
Pieter de Rooij has a strong focus during 20 years in (experience) marketing and CRM in culture,
sports and tourism. He finished his PhD at Tilburg University in 2013 (Customer loyalty to
performing arts venues). He worked in the industry for many years as a marketeer, researcher
and consultant. He strives to create a linkage between the academic and the practitioners’s
world by research and consultancy. At this moment he is employed at NHTV Breda University of
Applied Sciences (Academy for Leisure) and he is active in the following fields:
- education: professional and academic bachelor, master programs and executive education
- research and consultancy
- board member: supervisory board VisitBrabant and board PvKO (Dutch CRM Association).
His expertise and his research interests are mainly in the field of arts and culture, and to a wider
extent in the leisure and tourism industry: Consumer behaviour (customer loyalty, involvement,
consumption motives), experience marketing (consumer experiences, value creation, customer
journey), and Customer Relationship Management (analytics, relationship strategies).
Marcel Bastiaansen obtained a master in Experimental Psychology (1996) and a PhD in Cognitive
Neuroscience (cum laude) in 2000. From 2000 - 2012 he worked as a researcher both at the
Donders Institute for Cognitive Neuroimaging and the Max Planck Institute for Psycholinguistics
in Nijmegen. During that period his research focused on the relation between oscillatory
neuronal dynamics and language comprehension, memory and attention. Marcel has extensive
experience with EEG, MEG and combined EEG/fMRI research. In 2013 Marcel moved to NHTV
Breda University of Applied Sciences, where he teaches quantitative research methods courses
in the scientific bachelor and master programs of Leisure and Tourism. Next to continuing his
research on the relation between neuronal oscillations and language comprehension, he has
initiated both fundamental and applied research on the role of emotions in decision making,
neuromarketing, and the EEG correlates of emotion categories. He is also involved in research
on consumer behaviour and experiences in the performing arts, and has a keen interest in recent
developments around the analysis of big data.
Boyie Kim
Graduate student, Seattle University
Seattle Youth Symphony Orchestras: Motivation for
Participating in Youth Orchestra Programs
Why do students want to participate in outside school arts programs? Starting with the simple
question, this paper examines the students’ and their parents’ motivation for participating in
the arts educational program utilizing the case of Seattle Youth Symphony Orchestras (SYSO). In
the business aspect, knowing about one’s existing patrons has been considered as a very
important part in order to develop wider customer base. Therefore, by understanding the
participants’ motivations, arts educational organizations are able to understand their
participants’ needs better, and in this way, the organizations can develop more audiences.
The study was conducted in three phases, including an online survey for student and their
parents, personal in-depth interviews with parents, and observation. Participants were divided
into parent (customer) and student (consumer) groups in order to compare the motivations of
two groups. Findings include that participants love playing music, want to improve their skills,
and want to be challenged. The results suggest SYSO and other arts educational organizations
that focus on children and youth to take benefits from word-of-mouth advertising, build good
relationships with local private teachers, and provide participants a certain level of challenge.
Biography
Boyie Kim earned her Bachelor’s degree in music with an emphasis in vocal music and piano,
and her Master of Fine Arts degree in Arts Leadership from Seattle University. Kim strongly
believes that arts education is cultivating the future of the arts, and she has built her career
toward her vision of the arts field which is looking for ways of sharing more arts with many
people from diverse backgrounds. As an assistant director at Bambini Production, she has a
depth of experience directing concerts, operas, ballets, musicals, and other performances. After
coming to the U.S., she also worked at different arts educational organizations, covering many
aspects from marketing to development. To achieve her vision, Kim is very interested in
researching into ways of develop younger generation audience.
Shuchen Wang
PhD candidate, University of Jyväskylä
Turning Right/Turning Left: a neoclassical
socioeconomic query of art institute in Finland
The current debate over Guggenheim Helsinki may best reveal a turn from socialist to capitalist
in the art scene of Finland. Of which material and immaterial cultural heritage was gathered
around the late 19th and early 20th century to forge a cultural identity supporting political
request of independency. The absence of aristocracy made this country rather fair and equal in
social structure, but in museological development that also resulted in an absence of high art
and high culture. Instead of cabinet of curiosity or royal art collection, existed here only works
created and owned by local artist societies. In this historical light, the value of art (collection) was
coined with nationalist ideology since always and later performed in formal and informal
education. Now after another turn of century, art starts to seek its new value along free-market
capitalist mechanism, as artistic creativity is expected to fuse into technological innovation.
‘Useful art’ is then being promoted to boost technology economics. If Robin Hood project
represents a romantic attempt to conciliate art, finance and politics by a local art community,
Guggenheim Helsinki is then a governmental effort to install Finland into international art
landscape meanwhile seeking tangible return of investment in arts.
Biography
Currently pursuing a PhD degree at the University of Jyväskylä, Finland, the author has an
extensive education background and working experience in the arts and culture field from
different continents. Originally from Taiwan, she holds a B.A. degree in Literature from the
National Taiwan University, a M.A. degree in Museology specialized in exhibition mediation and
design, and a D.E.A. in Museology of Natural and Human Sciences from the National Museum of
Natural History, Paris. Besides, she had an internship in the Metropolitan Museum of the Arts,
New York, and was involved in a consortium to apply mobile technology in museums. In terms
of working experience, in Beijing she has been working as contemporary art gallery director and
art consultant, in Paris as exhibition coordinator, and in Taipei as specialist of auction house and
cultural foundation. Except participating a project of digital cultural heritage, her recent activities
include being speaker at international conferences such as ICOFOM 2015 Tsukuba, Challenging
the Past / Diversifying the Future 2015 Gothenburg, Cultural Institutions and Communication:
Towards a Creative Participation 2014 Kaunas, NODEM 2013 Stockholm, Digital Heritage 2013
Marseilles, Mobile and the Web 2013 Hong Kong, Arts in Society 2013 Budapest, Inclusive
Museum 2013 Copenhagen.
Chengzhong Wu
Research Center of Culture and Leisure Industry, University of International Business
and Economics, Beijing
Leisure Cultural Geography in Beijing during the Ming
and Qing Dynasty
From the view of distribution amount of leisure sites, the western suburb and the western area
of the inner city became the most important leisure area in Beijing during the Ming Dynasty.
However, the foundation of the outer city promoted the development of leisure sites in the
outer city of Beijing during the middle and later periods of the Ming Dynasty. At the initial phase
of the Qing Dynasty, the “divide and role” policy in the city directly stimulated the western
area of the outer city prevailed against the west suburb and became the most important leisure
area, even the leisure and amusement center of the Beijing city. The leisure areas in Beijing
during the Ming and Qing Dynasty experienced the process of formation and evolution. There
were 13 leisure areas during the Ming Dynasty and 17 leisure areas during the Qing Dynasty.
Among them, the Jishuitan-Shichahai-Gulou scenery, garden and market leisure area and other
leisure areas kept the prosperity situation in the two Dynasties, while the two boated reaches
between the two sluices upon the Tonghui River, took the place of the Gaoliang River and
became the most important river tourism area on the outskirts of Beijing during the Qing
Dynasty. The formation and change of space layout of leisure sites usually were the result of
comprehensive influence by these factors such as natural geographic environment, location, the
prosperities and function of the capital, Folk Custom, political factors.
Biography
Chengzhong Wu received his PhD degree in Historical Leisure Geography at Peking University
and became a postdoctoral fellow at Tsinghua University. He is interested in various topics
within the cultural creative industries, such as cultural planning, cultural policy, cultural
development strategy, tourism and leisure management and foreign cultural investment.
Currently, he is a Professor of the School of Public Administration at University of International
Business and Economics (UIBE) in Beijing, and the Director of Research Center of Culture and
Leisure Industries, UIBE. He also serves as the Chairman of The International Cultural
Administration Conference in Beijing. He is the founder and the chief editor of the Journal of
International Cultural Administration. He is also the reviewer of the Journal of Culture Study and
Journal of Arts Management, Law and Society.
Jiang Duo
Jin Haina
Culture Development Institute, Communication University of China
Paths and Countermeasures of Going out of Intangible
Cultural Heritage in China under the Background of
Productive Protection
Over the last decade, the inheritance and preservation of intangible cultural heritage in China
has obtained world recognized experiences. Many intangible cultural heritage projects which
served as the link between past and future has become local pillar industry and started stepping
out. The paper proposes brand building and accumulative development as the “Going out”
paths for intangible cultural heritage. Finally, the active inheritance, continuous development
and internationalization of the intangible cultural heritage can be realized through diversified
support and intellectual property protection.
Biography
Professor Jiang Duo, Assistant Professor of cultural industries in Communication University of
China. Professor Jiang is specialized in cultural policy, international cultural trade, creative
industries and cultural planning. She has been presiding over the compilation of the Yearbook of
China’s Cultural Industries (bilingual) with 4 Chinese versions and 3 English versions from 2010
to present. She has conducted or participated in over 30 research projects commissioned by
central departments, provincial and ministerial units of the People’s Republic of China.
Professor Jin Haina, Associate Professor of translation studies in Communication University of
China. Professor Jin obtained her PhD in translation studies in Peking University in 2011. She has
published 1 academic book on film translation and 4 translated books, two of them were
published overseas. Professor Jin is also in charge a national social science research project “A
history of translating Chinese Films into English”. Professor Jin has translated The Annual
Report of Chinese Cultural Industries (2012) and The Annual Report of Chinese Cultural
Industries (2013).
Samantha Yates
Manager Art and Cultural Development – Indigenous, Country Arts SA
Mandy Brown
Indigenous Arts and Cultural Engagement Officer, Country Arts SA
Klynton Wanganeen
Consultant
Lee-Ann Buckskin
Consultant, Lee-Ann Buckskin & Associates
We are listening but are you hearing?
Working with and for Aboriginal communities is challenging and rewarding but what are the
skills needed when talking with First Nations communities?
And
How do you as an individual or organisation imbed cultural understanding to ensure that your
engagement is respectful and inclusive?
Country Arts SA set up an Indigenous program and created a new role for the organisation
(Indigenous Arts and Cultural Engagement officer) in 2010. The need for an Aboriginal person
on staff and a dedicated program arose out of work that the Country Arts SA team had been
doing with programming and in particular the inaugural Regional Centre of Culture in Port
Augusta, 2008.
By ensuring that Aboriginal communities had a voice in programming some of the most
outstanding projects, opportunities and developments arose and provided outcomes that
embraced culture and understanding.
Through communication and listening to Aboriginal people the organisation has embarked on a
new way of working and understanding keeping best practice and First Nations people at the
forefront of their work.
The panel will discuss policies, practices and key trends for listening and working with and for
Aboriginal community in the arts.
Biography
Born in Albury NSW, Samantha Yates grew up in both regional Victoria and the eastern suburbs
of Melbourne. Her family moved every two years and Sam has attributed this constant
movement to her ease in communicating with people from all walks of life.
Sam has been living in South Australia since 1999 and is currently the Manager Arts and Cultural
Development – Indigenous program for Country Arts SA.
In this role Sam works with communities across the State and with the Indigenous Arts and
Cultural Engagement Officer supports Aboriginal and Torres Strait Islander communities in their
arts and cultural expression.
In 2005 she was appointed as a panel member for the Project and Development grant
assessment panel for the South Australian Youth Arts Board and in 2006 was appointed by the
Minister assisting the Premier in the Arts the Hon John Hill MP as a Board member on the South
Australian Youth Arts Board. In 2008 Sam was also appointed to the Regional Communities
Consultative Council by the then Minister for Regional Development Karlene Maywald MP. Also
in 2008, Sam graduated with a fellowship from the Governors Leadership Foundation Program
where she was able to learn more about the issues and potential of the state of South Australia.
Mandy is an Ngarrindjeri, Peramangk, Kokatha and Pitjantjatjara woman who has lived all her life
in metropolitan and regional South Australia.
Mandy has worked in many fields and is currently the Indigenous Arts and Cultural Engagement
Officer with Country Arts SA – a role she has been in for 5 years since the inception of this role.
Her role encompasses all of regional South Australia for Aboriginal artists and communities.
Mandy was nominated by community for the 2008 Australian of the Year.
Her Board roles at present are Chair of the Board for Colebrook Home, Eden Hills; regional
member for the Art Gallery of South Australia Indigenous steering committee; International First
Nations Gambling committee inaugural member; and Peramangk member of the Adelaide Hills
Indigenous committee.
She is currently completing the Governors Leadership Foundation (GLF) and is also on the GLF
Committee as a member for 2015.
Klynton is of Narungga and Ngarindjeri descent. He is a former Regional Council Chairperson
and South Australian Zone Commissioner for ATSIC, the Inaugural Commissioner for Aboriginal
Engagement in the Department of Premier and Cabinet, Founding Director of the National
Congress of Australia’s First Peoples, Director of Aboriginal Programs and Policy in DFEEST as
well as numerous positions in the Vocational Educational and employment areas. Klynton has
worked at the State and National level for over twenty years. Klynton has held positions on
numerous Aboriginal Boards at a Regional, State and National level and has operated as a
consultant for the past two years focusing on Governance, Strategic Planning, Aboriginal
Community Engagement, Leadership, Mentorship and Cultural Awareness. His qualifications
include Bachelor of Teaching (Adult Education), Graduate Certificate in Management, Advanced
Diploma in Community Services Management, Diploma in Employment Services and a trade
Certificate in Welding.
Lee-Ann is a Narungga, Wirangu, Wotjobaluk woman and is well known throughout the
Australian, Indigenous and international arts communities. She has a Bachelor of Arts in
Communications from the University of South Australia.
Lee-Ann has worked across many major Festivals and events within Australia including Adelaide
Fringe, Adelaide and Brisbane Festivals of Arts. She has produced four Blak Nite Festival
showcases, South Australia’s leading Indigenous Youth Arts showcase as part of the 2005-11
Come Out Festival, The Australian Festival for Young People.
Awarded the inaugural South Australian Glady’s Elphick Award recognising her work in the art
and the prestigious internationally recognised Sidney Myer Facilitator Prize. The Prize recognises
Lee-Ann’s tremendous contribution to Indigenous arts in this country.
Lee-Ann together with Tony Rosella and Michelle Nikou were the designers of the Aboriginal
and Torres Strait Islander War Memorial, launched in Adelaide November 2013. In 2014 they
won South Australia’s premier art prize and won the Ruby Award for Best Work.
Currently a Board Director for the Australia Council for the Arts, she is one of seven national
champions for the Barangaroo re-development site in Sydney and is Co- Chair of) a new
International Festival Tarnanthi – Contemporary Aboriginal and Torres Strait Islander Visual Arts
to be held in South Australia October 2015. She is enrolled in the Murra Indigenous Business
Master Class, at the Melbourne Business School.
Lee-Ann’s recent position with Carclew Youth Arts in Adelaide as Manager, Aboriginal Arts
Development Program for over ten years.
PARALLEL PAPER SESSIONS 5
Dr James Marchant
Assistant Professor & Program Coordinator, Elon University
Self-Censorship in the Arts: What Happens When it
Occurs Publicly
Contemporary self-censorship in the arts has been a growing concern for more than 20 years. I
look at two recent examples of self-censorship by major arts organizations. New York Theatre
Workshop censored the play “My Name is Rachel Corrie,” and the National Portrait Gallery
censored the piece “Fire In My Belly.” In this paper, I look at the acts of censorship, but focus
more on how the organizations moved forward afterwards. With the negative press that both
received after participating in public censorship, both organizations made statements about
what happened, how to educate the public in the future about challenging work and how to
prevent such censorship from happening again. I analyze what the organizations actually did to
satisfy those statements.
Biography
Dr James C. Marchant is an Assistant Professor and the Program Coordinator at Elon University
in North Carolina for the newly developed undergraduate degree program in Arts
Administration. Previously, Dr Marchant was the Director of the M.F.A. program in Arts
Administration at Southern Utah University. He received his Doctor of Philosophy degree from
The Ohio State University in the area now known as Arts Administration, Education and Policy.
He also received his Juris Doctor degree from Temple University Beasley School of Law and his
undergraduate degree from The American University. He has worked extensively in the
nonprofit sector, both within the arts and with social service organizations. Dr Marchant is
interested in issues surrounding controversial and provocative art work, their place in social
justice development throughout the world and the effect they have on nonprofit arts
organizations. He is also interested in how the arts are utilized to develop, strengthen and
revitalize communities.
Gabriella Wilson
PhD Candidate, Queensland College of Art, Griffith University
The Equal Standard Broadzine: Expanding the
Readership and Language of Social and Political
Critique
Despite the creation and distribution of social and political critique in zines and related
publications, these are often effective in communicating with niche audiences in a specialised
language. The Equal Standard Broadzine provides an effective format for larger audiences to
engage with complex political and social issues. The literature asserts that zines often have a
limited distribution circle – usually exchanged or sold between like-minded readers and
producers, and that the fragmented style of presentation and language can alienate readers,
rendering the critique limited. In this paper I argue that the production and distribution of The
Equal Standard Broadzine promotes readership among diverse, non-aligned audiences without
loosing important nuances and depth of meaning in the critique being presented. This is being
achieved through the appropriation of multiple publication formats including broadsheets,
magazines, academic journals, zines and artists books and presents a combination of opinion
pieces, artwork, graphic elements, articles, photography, and narratives. The use of these
appropriated formats in one publication enables The Equal Standard to exploit their signification
and the critique can be interpreted in different ways. For example, broadsheet newspapers
represent ‘truth’, ‘history’, ‘validity’ and ‘tradition’ and these associated meanings
appeal to particular demographics. Just as the use of tabloid or magazine formats speak to and
inform a certain audience. Online availability as well as a growing print distribution is also
increasing the readership of the broadzine.
Biography
Gabriella Wilson is a fresh-faced, not-so-young budding artist and academic still in the midst of
her PhD at the Queensland College of Art, Griffith University. Gabriella researches the ways in
which art can provoke social change, and collaborates in the studio with her husband Brent
under the name Provoked. They live and work in Brisbane, Australia with their dog Tully.
Cathy Horsley
Community Cultural Development Officer, City of Port Phillip
Public Displays of Affection – or how I stopped
worrying and learned to love the consent process
The City of Port Phillip has been proud to support arts and disability for over twenty years.
Throughout that time there have been an extraordinary number of ‘hits’. This paper covers
one of the misses. It’s a story about consent, release, privacy and art made in collaboration with
people with disability.
The management of FOG Theatre (formerly Just Us Drama) transitioned to The City of Port
Phillip in the early 1990’s.
Lead artist on the program from 1993 – 2003 was Kate Sulan (Rawcus Theatre AD) followed by
David Wells (Born in A Taxi, Urban Dream Capsule, Megaphone Project) 2003-2013.
Under the inspired Artistic Direction of both Kate and David Fog has achieved extraordinary
outcomes, regularly presenting high quality performance works made with care precision, risk
and affection.
However there is one major piece of Fog Theatre work that will never be seen. ‘Moishe’s
Warm Up’ – a film by Fog Theatre and Eugene Schlusser
Moishe’s Warm Up is a 45 minute film completed in 2005. Taking over one full year to create
and costing in excess of $35,000, Moishe’s Warm Up was screened once and never again. The
project’s consent and release process was flawed.
This presentation will explore the circumstances which lead to the making of the film, lack of
informed consent and what the City of Port Phillip and the sector have learned
The presentation will go on to outline how six years after the failure of Moishe’s Warm Up the
City of Port Phillip produced the largest ever all abilities performance event – The Rawcus Flash
mob.
Funded by the Department of Human Services and produced by the City of Port Phillip, the
Rawcus Flash mob project included a consent and release project on a scale never before
undertaken. Over 400 people with and without disabilities descended on Federation Square in
the centre of Melbourne to perform a flash mob, be filmed and have the film shown ion
YouTube. The film currently enjoys over 25,000 views. All of this with proper informed consent.
This paper will explore that journey.
Biography
I am a dedicated arts and cultural manager with a particular interest in art for social change.
Having started my career as a fine artist, I transitioned to community arts and cultural
development in late 1990’s and have immersed myself to the field ever since.
As a local government Council Officer I have produced major arts events involving people who
have a marginalized experience; managed large scale community consultation with multiple
stakeholders; lead a visual arts program for people with disabilities; and in the early days, as an
arts support worker assisted people with intellectual disabilities and mental illness to participate
in arts projects with a focus on theatre.
Dr Byung Hee Soh
Kookmin University, Seoul
Professor Sung Ok Choi
Chungnam National University, Daejeon
Coevolution of a University Dance Department and a
Dance Company: Creation of Value of Art in a
Province
In Korea, arts and culture in provinces are at a disadvantage in many aspects. We observe the
process of the development or coevolution of a department of dance at a provincial university
and its offshoot dance company. In their endeavor for survival, they complement each other and
benefit from each other by seeking to be a part of the community with creative community
dance programs. Some implications of the coevolutionary process to other provincial dance
organizations are discussed. The values created in the community of the Western District of
Daejeon City and the success factors of these two organizations are analyzed.
Biography
Soh, B.H.
Ph.D. Economics
Professor of Economics, Kookmin University former president of Korea Asso. for Cultural
Economics. Former executive member, Asso. for Cultural Economics International (ACEI)
Choi, S.O.
Ph.D. Physiological Physical Education
Professor of Dance, Chungnam National University Vice President, Dance Culture Forum Vice
President, Contemporary Dance Association of Korea
Maryam Rashidi
PhD Candidate, Research School of Humanities & the Arts, Australian National
University
Culture as the 'Transversal' Pillar of Sustainable
Development: Implications for theory, policy and
practice
This paper addresses the theme of ‘value creation’ from the vantage point of the burgeoning
scholarship on cultural approaches to sustainable development. Academic and development
policy communities increasingly argue that the dominant, three-pillar model of development
implemented internationally for accomplishing United Nation’s Millennium Development
Goals (MDGs) by the target year of 2015 has been inadequate and ineffective. They deem the
success of UN’s post-2015 development agenda to depend upon adoption of a holistic
approach to development that augments the three social, economic, and environmental pillars
of the older model with a fourth pillar: ‘culture. The new model shall prevail, they anticipate,
because culture is ‘transversal’, that is, it concurs with and integrates the other three
dimensions across at all stages of sustainable development.
My aims in this paper are twofold. First, I will discuss the nature of the transversal character
attributed to culture within recent ‘culture and development’ debates, and the ways in which
the capacity of culture to generate cultural and extra-cultural (here, social, economic, and
environmental) ‘value’ is implicitly or explicitly located in this inherent transversality. Second,
I will examine the analytical usefulness, as well as the policy and practical implications of this
association of value with transversality.
Biography
Maryam Rashidi is currently completing her PhD with the Research School of Humanities and
the Arts at Australian National University. In her PhD, through a number of case studies of artistic
and cultural practices in Europe, North America, and Asia, she critically examines and
theoretically augments the predominant conceptual and methodological frameworks
concerning the instrumentality of contemporary collaborative arts for social change.
Simultaneously, she has been developing a cultural model of global governance following the
research she conducted with UNESCO’s Division of Diversity of Cultural Expressions (20122013, Paris) on integrated cultural approaches to sustainable development. She has presented
the results of both projects in numerous academic conferences as well as professional platforms
in Australia and internationally. The proposed paper for this STPA Conference is based on the
latter project.
Associate Professor Ronit Eisenbach
School of Architecture, Planning & Preservation, University of Maryland
Elena Lombardo
PhD Candidate, IULM University of Milan
Culture-led urban regeneration and Creative
Placemaking: The impacts of temporary art projects
on site and community-in-transition
The aim of this paper is to explore the role of temporary art and socially engaged art practices in
culture-based local development strategies and in urban resilience contexts. In order to better
understand the potential of the arts at critical moments of change in urban space, this analysis
focuses on the specific value added by temporary art projects located in communities and sitesin-transition. By underlining this “in-flux” condition and the ways that Creative Placemaking
strategies are being employed to revitalize cities, neighborhoods and regions, the paper sheds
light on how current policies that invest in this type of work can foster local development and
community vision. In addition, the article investigates the potential for temporary art projects to
engage local communities in shared experience, visioning and design processes aimed at
altering the environment. Through an analysis of the role that ephemeral art can play in
sustainable local development strategies, the study identifies the positive impacts of art
practices in urban space but also identifies some of its challenges.
Biography
Ronit Eisenbach is an architect, artist, curator, and educator whose scholarship and multidisciplinary spatial practice aims to engage others in dialogue about the world we make for
ourselves. Combining art, design and architecture, she explores how the perception of
subjective, invisible and ephemeral objects affects understanding and experience of place. An
interest in thinking through making and refining perception has led her to teach a series of
situation-based, design-build studios that frame elements of architecture such as light, colour,
space, and shadow.
Elena Lombardo is a PhD candidate in Economics, Management and Communication for
Creativity at the IULM University, where she achieved an MA in Arts, Markets and Cultural
Heritage. Her research areas: cultural economics, arts management, creative studies and cultural
policy. From May to November 2014, she was visiting scholar at the University of Maryland.
Professor Javier Hernandez-Acosta
Universidad del Sagrado Corazon
Hazel Colon Vazquez
Inversion Cultural
Cultural Tourism and Local Development: A Two-way
model for the Community of Santurce
Tourism has become an important economic sector in Puerto Rico. In recent years the creative
and visitor’s economies has contribute to the development of strategies to support this efforts.
Unfortunately, there have been great challenges to the development of an ecosystem to support
cultural tourism in local areas with abundant cultural assets. Santurce is the main example of
those communities. This area, located in the capital of Puerto Rico, is the home for the main
performing arts venues, restaurants, universities, galleries, museums, street art and the
headquarters of multiple small-arts organizations.
Local and national governments, legislature, academia and foundations has been developing
initiatives to promote a visitor’s economy, using arts and cultural programming as their main
assets. The objective of this paper is to analyze the case of Santurce and propose a framework to
promote the development of a sustainable creative ecosystem that integrates the cultural
sector, businesses, citizens, NGO’s and government agencies. The framework includes aspects
of cultural policy, citizenship, cultural engagement, entrepreneurship, participation and social
impact. The integration of these agents and indicators could allow the development of a creative
ecosystem that promotes a sustainable economic and social development in local areas.
Biography
Javier Hernández-Acosta, Full-time faculty in the Business Administration department at
Universidad del Sagrado Corazón and lecturer at the Master Program in Cultural Agency and
Management at the University of Puerto Rico. Founder of Inversión Cultural, a project that
support cultural entrepreneurs in Puerto Rico. His main research interests includes creative
economy, cultural policy, cultural entrepreneurship and arts management. Is the author of the
Profile of the Creative Economy in Puerto Rico, has published in various books on cultural
industries and presented in conferences in United States, Canada, Cuba, Colombia, Brazil, Japan,
The Netherlands and Belgium. He is also a musician (latin percussionist) and has been an advisor
for the government in cultural policies and creative economy.
Hazel Colón Vázquez, Master’s of Arts candidate majoring on Cultural Agency & Arts
Administration at Universidad de Puerto Rico. (June 2015). Co-Founder of Río Piedras
Transmedia, a project aimed to promote the cultural activity, creative economy and cultural
tourism through civic engagement in the urban context of Río Piedras (neighborhood of the
capital city of Puerto Rico). She also works as a Project Manager and Cultural Agent of Inversión
Cultural. Through this project she has helped elaborate a strategic plan, brand identity and
manage of El Nido Cultural, an incubator that focuses on cultural and creative entrepreneurship
at multiple stages, including training, mentorship, management support, innovation and student
internships. Her main research interests includes literature, cultural tourism, urban development,
contemporary art and cultural policy.
Dr Jan-Clarie Wisdom
Adelaide Hills Council
Dr Edwina Marks
CEO, Barkly Regional Council
Is capacity-building and valuing arts at local
government level a sign of connectedness to or
remoteness from national cultural policy?
This paper asks whether capacity-building and valuing the arts at ground level is a sign of
connectedness to Australian national cultural policy, or a sign of remoteness – theoretically,
geographically and politically – between government-directed cultural policy and community
cultural activity. Two case studies: one involving multi-media in remote communities in the
Barkly region of Australia’s Northern Territory, and one involving an international sculptural
trail in South Australia’s Adelaide Hills, are examined to see who is making a difference, and
does it matter?
Neither case is a response to formal cultural policy: one is a local council initiative taken up by
the community, the other an arts community initiative taken up by a local council – but both
demonstrate success. It is argued that arts and cultural policies – including Creative Nation and
Creative Australia - in contrast to practice, indicate that capacity building and creating value in
the arts sector and broader community depends on the policy framework, the practice location
and what cultural value perspective is taken. Is Federal Government cultural policy making a
difference as a tool for enterprise, education and social change in remote or semi-rural
communities or is this a role for Local Government?
Biography
Jan-Claire Wisdom has recently completed a second term as Deputy Mayor for the Adelaide
Hills Council and was re-elected as an Independent Councillor in 2014. She is on the Board of the
State Libraries of South Australia that oversees both the State Library and the Public Library
Service of over 130 branches. Last year she completed the ANZSOG Excellence in Local
Government Leadership Program at the ANU and this year holds a scholarship from the Leaders
Institute of South Australia to participate on the 2015 Governor’s Leadership Foundation
program.
Jan-Claire has degrees in English Language and Philosophy (Sheffield), postgraduate
qualifications in Information Science (Liverpool), and Journalism (Deakin), a Masters in
Communication (UniSA), and received her PhD (UniSA) in 2015 that focused on Australian
national cultural policy, globalisation and new technology. She has previously been a research
fellow at Liverpool John Moores University and currently tutors in Communications at UniSA.
Working across public and private sectors her career has included chartered librarian,
management consultant, ICT manager, freelance media consultant and a parallel ten-year career
as a soldier in the UK and Australian defence forces. Before emigrating from the UK she held a
senior management position at the Union Bank of Switzerland in London. More recently she has
been a community activist for mental health and environmental issues.
Dr Edwina Marks commenced as CEO for the Barkly Regional Council in January 2014 after five
years in local government in NSW and previously held the role of Director Communities at Barkly
Regional Council from May 2013 to January 2014. Last year she completed the
ANZSOG Excellence in Local Government Leadership program at the ANU. Edwina has held
senior management roles across the corporate, private and public sector and possesses
postgraduate qualifications in business, management and the Arts. She gained a Masters in Fine
Art and her PhD (2012) at Newcastle University (NSW). Both focused on the impact of economic
and social risk associated with public art practice.
Professor Kennedy Chinyowa
Tshwane University of Technology
Developing a creative industries driven curriculum
and implications for the Faculty of the Arts at
Tshwane University of Technology in South Africa
It has been argued that the global drive towards an increasingly knowledge based economy has
compelled universities to shift from a teaching, learning and research focus to an
entrepreneurial paradigm. Indeed, Etzkowitz, et al (2000) regard the emergence of the ‘
entrepreneurial university’ as a response to the crucial importance of the knowledge economy
in local and global innovation systems. As an academic institution, the university has come to be
viewed as a creative incubator and transfer agent for innovative knowledge and skills. Under the
current stringent financial climate and dwindling research funds, universities are being
compelled to pursue entrepreneurial strategies for the sake of survival. Thus the university is
gradually ceasing to be an insulated ‘ivory tower’ but a core player within the knowledge
economy, producing and disseminating new ideas for the creative industry economy.
This paper focuses on steps being taken by the Faculty of the Arts at Tshwane University of
Technology (TUT) in Pretoria, South Africa to develop a creative industries driven curriculum. The
paper examines the Faculty’s attempts to shift from the creative arts towards a creative
industries driven curriculum. In particular, the paper will examine the implications of the Faculty
’s drive to establish the Centre for Creative Industries within the context of South Africa as a
developing country. Universities are establishing innovation centres and arts incubators as
institutional support mechanisms and forging strategic alliances with government and industry
sectors in order to contribute to the creative economy. As Florida (2002) has argued, a thriving
creative economy is unthinkable without the presence of a major research university.
Since TUT is an increasingly transforming and technology based university, the paper argues
that the Faculty of the Arts will be better placed to develop its creative industry ‘friendly’
curriculum from existing creative fields of study such as the performing arts, drama and film,
entertainment technology, fashion and design, visual arts and other applied arts. The Faculty
needs to imagine its future role as a conduit for enhancing the South African creative industries
by being able to package the creative industries at both institutional and national levels.
Biography
Biography: Kennedy C. Chinyowa is former Head of the Division of Dramatic Arts at the
University of Witwatersrand in Johannesburg, South Africa. He’s currently Research Professor
in the Faculty of Arts at Tshwane University of Technology in Pretoria, South Africa. He was a
visiting scholar in the Centre for Applied Theatre Research at Griffith University (2001 -2005)
where he obtained his PhD degree in Theatre for Development. Apart from presenting several
papers, seminars and workshops at international conferences, he has published widely in books,
refereed and accredited journals such as Research in Drama Education, Studies in Theatre and
Performance, Drama Research, Nadie Journal and the South African Theatre Journal.
Sebastien Pelletier
Doctoral candidate, Ecole Normale Superieure de Lyon, Canada
Arts and Migrations: Asian Migrants in Canada and
Arts Participation
While art is increasingly seen as a tool for social integration, participation in the art-world as a
professional and as an amateur producer of art is not without its exclusionary dynamics. Some
areas of the arts may be rather receptive to new entrants, are more exclusive requiring greater
economic and cultural capital from its participants. This paper explores these dynamics and
looks at the adaptation strategies of Asian migrants' participation in the Canadian art scene.
Biography
Sebastien Pelletier is a doctoral candidate at École Normale Supérieure de Lyon in France. He is
also part-time lecturer in Sociology at Laurentian University in Sudbury, Canada.
Dr Ofonime Inyang
Faculty of Arts, Tshwane University of Technology
Contextualizing African Arts and Culture in the
Creative Industries Debate: What should constitute
the way forward?
Africa’s rich cultural heritage and abundant artistic resources have attained global recognition
and sustained scholarly interrogation for years. What however eludes the continent is how to
manage, strategize, promote and benefit from her culture, arts, heritage and indigenous creative
resources as it is also sadly the case in her natural endowments. With the rising tempo of
nascent debates about integrating creative economy into attaining sustainable development
goals especially in developing societies that has repositioned artistic and cultural sectors into
creative industries in a direct replay of dynamics in the developed world, where should African
cultural policy direct its focus? Should it emulate the highly organized creative spaces of the
developed societies and embark on responding to the dictate of the rhetoric of the creative
economy or should its look inwards first, understand, organize itself and adopt viable cultural
administration and management strategies to enhance its survival in a rapidly globalizing
environment before transforming into a so called creative industry? This paper examines these
issues through an analytical review of some of the core debates surrounding the African creative
industries initiatives.
Biography
Ofonime Inyang, PhD, is a Postdoctoral Fellow in the Department of Drama & Film, Tshwane
University of Technology, South Africa. He is a creative writer, theatre practitioner, media analyst
and researcher with recurrent research interest in the impact of cultural policy, arts management
and administration in communication and media industries in sub-Saharan Africa. Some of his
research articles are published in books and journals in Nigeria, South Africa and UK. He is 2014
DAAD Visiting Scholar in the Department of Cultural Policy, University of Hildesheim, where he
conducted research and understudied the UNESCO Chair in Cultural Policy in Arts for
Development.
Dr Sheree Gregory
Lecturer (Human Resource Management), School of Business, Western Sydney
University
Work/Life Management and Caring responsibilities:
emerging Tensions and Challenges for Cultural
Industry Stakeholders
Work/life management is a growing practical concern for performers, their households, and the
labour unions and other industry stakeholders who manage productions in the entertainment
industries. Drawing on in-depth qualitative interview data with male and female performers
working across film, television and theatre in Australia and internationally, and union officials
and managers in the entertainment industry, from research-in-progress, this paper presents
preliminary findings of contemporary working and household life experiences. It conceptualises
the gendered dimensions of managing and negotiating precarious work and childcare demands.
Three narratives inform the conceptualisation: the first points to performers who negotiate their
caring responsibilities with producers and agents; the second describes individualised
arrangements with informal industry networks; the third illustrates equity and power issues
which shape performers’ work/life management. The findings indicate that the networks which
performers engage with for work/life management and caring responsibilities are unique and
unlike other industries. This research has implications for labour unions, workers and industry
stakeholders in the cultural sector and how these performers work collectively and separately to
manage workers’ work and life.
Biography
Dr Sheree Gregory is an academic at the Western Sydney University Business School with a track
record in family business entrepreneurship and Human Resource Management, particularly
work/life and gender equity issues. She has been awarded funding as an Early Career Researcher
to examine how performers manage precarious work and family responsibilities (with the Media
Entertainment and Arts Alliance), and currently, to explore the barriers to women’s
employment in cultural industries with a focus on filmmaking and film directing (together with
Deborah Stevenson). In 2014, Sheree co-Convened the Work-Life in the Creative Economy
th
Symposium in Melbourne, for the 75 year of equity in Australia. She Chaired the Equity and
Diversity panel of performers, managers, playwrights. Sheree has published her research on
entrepreneurship and women and work in top-tier journals in Australia and internationally.
Sheree serves as Reviews Editor of Media International Australia journal.
Lisa Philip-Harbutt
PhD student, Swinburne University
What's art got to do with it?
What’s art got to do with it? is a presentation from a PhD student who is taking her 35+ years
of experience as an artist working for social change into the field of Leadership. Lisa PhilipHarbutt had come across many examples of big business in other countries employing all
manner of artists to inform their processes or train their staff. From a poet at an aerospace
company and a theatre director teaming up with a Harvard Business school professor. From
Dance companies teaching at Leadership programs to the Yale Medical School finding that the
introduction of art appreciation classes for their ‘would be’ surgeons improved their
diagnostic skills. At this moment in time the opportunities for artists in Australia to influence key
decision-makers seems to be to very limited. Lisa has had much success working in community
and is interested in creating opportunities for artists with experience of community cultural
development to introduce art as a tool for social change to the leaders of the future. What’s art
got to do with it? uses video projection and spoken word to introduce opportunities for Art in
Working Life that have not been explored in Australia since the 1970’s.
Biography
Lisa Philip-Harbutt has spent over 35 years as an artist exploring the overlaps between visual,
performing and community arts. Her passion is initiating cultural development and social
change through arts practice. Lisa has a Master’s in Business (Research) in which she tackled
decision-making in the arts sector in South Australia. She was the Director of Community Arts
Network of South Australia for eleven years. She has been a regular presenter at the Social
Theory, Politics and the Arts Conferences. The Journal of Arts Management, Law and Society
(JAMLS) published her article Cultural Policy: For or By the People? An Australian Perspective in
2011. Lisa gave a keynote presentation in 2012 in Singapore at the Community Cultural
Development Symposium call Practices and Possibilities. Lisa is currently a PhD student at the
Swinburne University Institute of Leadership for the Greater Good.
Associate Professor Katya Johanson
Deakin University
Associate Professor Hilary Glow
Deakin University
Kirsty Baird
City of Yarra
Valuing participation: Why artists initiate
participatory arts projects, and how they identify
their value
In 2006, Claire Bishop argued that the ethical lens applied to socially engaged arts practice
limited the opportunity to expose such practice to critical reception. Encouraging ‘authorial
renunciation’ in favour of consensual collaboration, the emphasis of socially engaged arts ‘is
shifted away from the disruptive specificity of a given work and onto a generalized set of moral
precepts’ (Bishop 2006: 4). In this paper, the authors respond to Bishop’s implicit call to
envision a new framework for socially engaged arts. Our aim is to identify the qualities and
motivations behind artists’ efforts to engage ‘punters’ to participate in the arts. In particular,
we are interested in how the qualities of aesthetics and collaboration intersect.
What are the conditions under which excellent socially engaged arts can be achieved? How do
social engagement and artistic quality contribute to one another? What impact do artists see
participants having on the creative process? A collaboration between academics at Deakin
University and a Community Arts Officer, the project is based on a survey of over two hundred
artists and in-depth interviews with sixteen artists in Victoria.
Biography
Katya Johanson is Associate Dean Partnerships and International at Deakin University, and has
for over a decade been researching how arts production, consumption and cultural policy each
draw on and advance social and political goals. With Jennifer Radbourne and Hilary Glow, she is
the editor of The Audience Experience (Intellect).
Hilary Glow is an Associate Professor at Deakin University where she is Director of the Arts and
Cultural Management Program in the Faculty of Business and Law. Dr Glow has extensive
experience, knowledge and expertise in the arts sector as a researcher in the areas of arts and
cultural policy and audience engagement. She has conducted research on the value of
community engagement with arts programs, evaluation processes for arts organisations, the
impact of arts programs on people’s views of cultural diversity, the barriers to arts attendance,
and audience measures of artistic quality.
From 2012-2014, Dr Glow was Director of the Arts Participation Incubator (API) which she
started in 2012 with seed funding from Deakin University. The API incubated projects to explore
the fruitful ground between the arts sector, social innovation and scholarly research. Dr Glow’s
research has attracted funding from both local and state government and has involved
reviewing programs, providing evaluation models, developing arts and cultural policies and
examining barriers to arts participation. Currently, Dr Glow and colleagues are conducting
research with VicHealth to provide an evaluation of 6 performing arts projects funded to address
issues of race discrimination.
Anna Grega
Independent, Arts Consultant & Creative Broker
Friends or Foes? Reimaging the 'trinity' relationship
between community museum, library and arts centre
to create dynamic and sustainable programming
In the milieu of local to global needs and issues, and a rapidly developing and constantly
connected age, Local Governments face complex challenges and opportunities to build and
brand its community, grow and shape its unique cultural landscape and support its community
facilities to efficiently and effectively deliver on these.
Questions abound: How to positively harness ‘internal’ competing agendas, budgets,
priorities? When and how to work as a collaborator not competitor (internal & external)? How to
design enriching experiences, with limited resources, for multiple stakeholders? How to be more
proactive rather than reactive? What does ‘working smarter not harder’ actually mean on the
ground, on a daily basis, for the community facilities and the people who work within them?
How to navigate new and old ways of working to survive and thrive? How to ‘stay on course’
with a cultural vision during turbulent life cycles of elections?
Using diverse professional experiences and a snapshot of case studies, this paper will explore
these questions to reimagine a potential ‘user-friendly’ business model of working together.
This is based on the powerful trinity of a community’s arts centre, museum and library to create
dynamic and sustainable programming that leads to a lasting legacy.
Biography
Anna Grega is an arts consultant / creative broker with 30years experience in Australia, Eastern
Europe, USA and currently researching and scoping Scotland.
Qualifications: M.A. (Theatre Studies) UNSW (audience response to the aesthetic experience),
B.A. UQ (Sociology & Art History), Associate Diploma in Creative Arts QUT (Drama & Visual Arts).
Experience: Australia Council for the Arts Audience & Market Development; Sydney Opera
House Trust, Liverpool City Council Libraries & Museum / Casula Powerhouse Arts Centre, Pony
Club Association NSW, Arts Queensland Creative Communities, State Library Queensland,
Queensland Performing Arts Centre, Museums Australia (Qld), Regional Galleries Association of
Queensland, Youth Arts Queensland, Redcliffe City Council Cultural Centre, Museum & Gallery
Services Queensland, Museum of Brisbane, Griffith University Qld College of Art, Australian
Society of Archivists and internationally Dublin Arts Council (Ohio USA), Ohio State University
Arts Education Faculty / Department of Cultural Policy & Arts Management and Stanica Cultural
Centre (Slovakia).
Nick Cooke
Deakin University
Ruth Rentschler
Professor Ruth Rentschler, Chair Arts Management, Deakin University
Brian Martin
Deakin University
Authentic leaders: How they overcome challenges for
Indigenous and non-Indigenous board members
While leadership research is vast, there has been little research on authentic leadership on arts
boards, leaving a gap to be addressed by our study. Authentic leadership is a positive form of
leadership, encapsulated in our research question: How do individual arts board
directors address the challenges of authentic leadership in their board work? It is pertinent to
this study, as it relates to the ‘true self,’ which is central to many leadership perceptual
studies. Four dimensions of authentic leadership from the literature were examined in this study.
They are relationships; internalized moral perspective; awareness; and balanced processing.
Relationships are concerned with the achievement of truthful and open relationships;
internalized moral perspective is an integrated form of self-regulation guided by internal moral
standards against the pressures of the group, organisation and broader society; awareness
means possessing trust in one's thoughts, feelings and motives; and balanced processing refers
to the adoption of an objective stance and acceptance of one's attributes—either positive or
negative. Each of these dimensions was used to drive the inquiry.
For the purpose of the study, 13 stakeholder participants of arts boards—both Indigenous and
non-Indigenous—share their insights and perspectives about authentic leadership through a
social constructivist lens. However, results found that in the 13 interviews the four dimensions of
authentic leadership identified in the literature required greater depth and breadth for
Indigenous and non-Indigenous participants studied. Hence, the sub-dimensions of community
relationships; cultural knowledge; inter-generational leadership; bicultural awareness; and
trauma emerged from the data and were added to the appropriate dimensions, in order to
enrich them. Community relationships are about individuals possessing community knowledge
by keeping themselves informed by being accessible to community members. Cultural
knowledge is about remaining true to Indigenous cultural obligations by advocating values and
practices. Inter-generational leadership involves constantly thinking generations ahead in terms
of Indigenous leadership and understanding the associated goals. Bicultural awareness means
possessing strong self-identification as an Indigenous person living in a dominant, nonIndigenous cultural context. Trauma requires an individual to appreciate the presence of trauma
in Indigenous peoples, such as transgenerational trauma. It requires a desire to preserve
Indigenous culture and alleviate the suffering of Indigenous people in the process.
In other words, the study found that the Western dimensions of authentic leadership were an
imperfect fit for a bi-cultural study that spanned two worlds. Thus the study reveals new insights
about leadership that inform the literature by adding breadth and depth of the widely accepted
authentic leadership dimensions. The dimensions are illustrated in a framework, a further
contribution of this study. The outcomes develop theory on authentic leadership on arts boards
for both indigenous and non-indigenous arts organisations, an area that has been neglected.
Dr Sarah Hattam
UniSA College
What’s the problem? Women’s Human Rights Policy
& Cultural Change
As the Australian policy landscape becomes increasingly shaped by a neo-liberal logic that
denies the needs of the disadvantaged, employing human rights language in women’s policy
discussions has become a useful strategy by those working inside and out of government. This
paper will examine some of the possibilities of the Australian Human Rights Commission
(hereafter referred to as the Commission) to contribute to women’s progress in Australia by
offering an insight to how an agency of the federal government – in the policy area of women’s
humans rights - works within a gendered, neo-liberal state that has, historically and more
recently, contested its very existence.
The Commission holds a key position within the Australian government with its mandate to
monitor the federal government’s human rights obligations, oversee federal antidiscrimination legislation as well as contribute to policy debates. The Commission has been a
persuasive force in policy debates on the mandatory detention of refugees, the removal of
Aboriginal and Torres Strait Islander children from their families between 1869 and 1969, and
specifically for my book, paid-maternity or parental leave and pregnancy and family
responsibility discrimination. While the Commission may have had success in pursuing
women’s equality in its role of mediating the Sex Discrimination Act, my paper questions
whether the Commission can contribute to the cultural changes needed to advance a
contemporary feminist agenda in its policy making role?
My paper adopts a critical policy studies framework, specifically Bacchi’s (2009) ‘What’s the
problem represented to be?’ (WPR) approach. Bacchi’s new approach to policy studies
departs from traditional policy analysis that focus on policy as ‘solutions’ and as ‘reactions
to problems’. Rather, the WPR approach says that policy is often the active creation of (or
production) of problems and offers us an insight to how governing takes place. Focusing on
‘problematisations’ in policymaking brings into focus how problems are represented, or
framed, producing a different vision of the political process.
The paper will investigate two related and interlocking issues central to what the Commission
can do and say to promote women’s human rights. Firstly, how does the Commission
problematise women’s rights and equality? Second, how have different federal governments
over the Commissions lifetime, ‘problematise’ the need for a human rights agency, impacting
on the Commission’s work. The paper will also show that there was a direct link between the
framing of the ‘problem’ of a human rights agency and the attack on their powers and
resources, especially during the Howard era, but also most recently under the Abbott
government. The paper will further indicate that the Commission has had to adopt a consistently
pragmatic approach to pursue incremental changes and progress for women; at times
successfully mobilizing feminist discourses in the policy debates to compete with a neo-liberal
logic.
Biography
Sarah is a lecturer and Diploma Program Coordinator at UniSA College and has been part of the
core teaching team since its inception in 2011. Sarah has extensive experience at teaching,
course coordination and curriculum development within the higher education sector in the
fields of Sociology, Cultural Studies and Politics. Sarah's high levels of performance in teaching
have been recognised as she was a recipient of a UniSA Supported Teacher Award in 2011.
Sarah has a deep concern for issues related to education and justice which led her to working
within the enabling education field and informs her teaching approaches.
Lyndall Metzke
PhD Candidate
Professor Ruth Rentschler
Chair in Arts Management and is Chair Academic Board
Dr Kerrie Bridson
Course Director, Bachelor of Commerce and a Senior Lecturer in the School of
Marketing, Faculty of Business and Law
Deakin University
Arts board members: Identifying the challenges of
balancing stakeholder interests
This paper investigates how arts board members balance the interests of different stakeholders
in a changing local government context in Australia. Local government investment in arts and
culture is $1,397.6 billion in 2012/13, making it a significant sector. Using stakeholder theory,
this literature review examines the tensions uncovered between board members and their
stakeholders and reveals how board members balance stakeholder interests. The study focuses
on board members sitting on boards at the local government level in Australia at a time when
they face increasing challenges. Challenges include satisfying the growing expectations of
constituents; providing increased services under funding pressures from the federal and state
governments; operating in a volatile, uncertain, complex and ambiguous context; and increasing
accountability to multiple stakeholders.
Biography
Lyndall is a PhD Candidate at Deakin University, Victoria, Australia examining tensions on arts
boards from a board member and stakeholder perspective. Her PhD supervisors are Prof. Ruth
Rentschler, Chair in Arts Management and Dr Kerrie Bridson, Course Director, Bachelor Of
Commerce at the Deakin Business School, Deakin University. Lyndall’s interest in arts
governance has developed from her 20 career in the arts sector working, teaching and
undertaking research with organisations including the Cultural Development Network, Deakin
University, Orchestra Victoria, Melbourne Festival for the Arts, the University of Melbourne, the
Canberra Symphony Orchestra and the Royal Opera House, Covent Garden, London. Lyndall
holds a Bachelor of Music (Arts Administration) (Melb) and a Master of Arts and Entertainment
Management (Deakin). She has a keen interest in local government arts producing a research
report with Dr Kim Dunphy and Linda Tavelli on ‘Cultural planning practices in local
government in Victoria’.
Ruth Rentschler holds the Chair in Arts Management and is Chair Academic Board, Deakin
University. She is a widely published academic, with books, articles in quality journals and
consultancy reports on governance in the arts. Her latest book is Arts governance: People
Passion Performance (Routledge Oxon 2015).
Kerrie Bridson is Course Director, Bachelor of Commerce and a Senior Lecturer in the School of
Marketing, Faculty of Business and Law, Deakin University. Her research interests focus on
branding and marketing education. Her research has been published in journals including
European Journal of Marketing, Journal of Services Marketing, International Journal of Arts
Management, Journal of International Marketing and she has presented at international
conferences, workshops and seminars.
PARALLEL PAPER SESSIONS 6
Assistant Professor InSul Kim
Graduate School of Culture, Chonnam National University
Arts, the Creative Self, and Young Offenders in
Detention Centers: Some Empirical Findings
A wide variety of political and ideological commitments exist within groups of prison educators
and prison activists. This study focuses on those projects that have a radical orientation- those
are, arts education programs that challenge the premises of the prison system in juvenile
detention center for serious crimes.
The purpose of this study is to empirically measure the effectiveness of arts education programs
conducted at 9 juvenile detention centers in South Korea (n=263) during 2014 to 2014. In terms
of measuring the effectiveness of the programs, both quantitative and qualitative research
methods were employed. In case of quantitative measurements, the study was based on quasiexperimental designs by using ANCOVA analysis (n=206). Based on pre-and-post tests, the
result showed statistically significant differences between the experimental and the control
groups in regards to the level of stress, sociability, and sense of self-regulation. The results of indepth interviews with the adolescents at the facilities also showed positive effects in a personal
level, such as expectation for aesthetic enjoyment, self-finding, self-confidence, sense of
resilience, and personal growth (n=57).
In conclusion, the study provides empirical insights on the effectiveness of arts education
programs, especially their educational role and impacts on the cognitive, societal, and artistic
sides of young people at risk.
Biography
InSul Kim earned her PhD degree in arts administration and cultural policy at The Ohio State
University. She is interested in how arts can be used as an alternative form to reflect social
problems, initiate civic engagement, and produce social capital. Currently, she is an assistant
professor of Graduate School of Culture at Chonnam National University, Gwangju, Korea; and
serves as editorial member at Forum for Youth Culture, Review of Culture & Economy, and
Journal of Arts & Cultural Management.
Leah Stone
PhD Student, Public Communication and Technology, Colorado State University
Feed the Artist: Build Transferable Skills to Create
Successful Arts Entrepreneurs
Arts entrepreneurship is a rising subject in academia. It is important to ask the question “How
can arts entrepreneurship pedagogy be structured to create successful arts entrepreneurs?”
Should arts entrepreneurship be taught similar to traditional entrepreneurship classes focused
on startups, innovation, and creativity, or arts management instruction examining existing arts
organizations? I argue that in order to help artists become successful in entrepreneur careers
they must “learn the ropes” from other successful artists and engage in the processes of
learning by doing.
Artists are entrepreneurs by nature. When they create, they produce a product of value. Through
research and recommendations I will look at the successful art entrepreneur in her natural
habitat to see what practices she engages in to promote success. How does she reach her
consumer base, obtain funding, and create a strong arts business team? I will explore how those
practices translate into teachable skills. I argue that successful value creation and
entrepreneurship for artists is a function of “learning the ropes,” and that these skills can be
successfully taught in a university setting. My theoretical framework is Stuart Plattner's
exploration of the contemporary art market (1996) and John Dewey’s theory on education and
experiential learning (1938).
Biography
Leah Stone is currently pursuing a PhD in Public Communication and Technology at Colorado
State University in Fort Collins, Colorado, USA. Stone holds a MA in Arts Management with
specialization in public relations and marketing in the arts. She is an arts entrepreneur and owns
two arts businesses: an online music studio and an arts management training, conflict resolution,
and consulting firm.
Kim Goodwin
PhD candidate, University of Technology Sydney
How social learning through communities of practice
can support leadership development in the arts
Understanding what constitutes successful leadership development for creative practitioners
helps provide guidance for individuals building careers, supports organisational success and
fosters effective funding for sector development. Given the labour market environment of the
arts sector facilitated learning or organisational development may not be the most available or
efficient methods to develop leadership capability. This paper explores social learning,
examining how it influences the emerging leader development in the arts sector. Data from art
forms are compared demonstrating how legitimate peripheral participation in communities of
practice may support building leadership capability and construction of leadership identity, and
how industry environment may reduce the potential learning opportunities. By understanding
social learning individuals are able to inexpensively develop leadership learning, whilst at an
industry and organisational level utilisation and support of social learning practices may build
collaborative leadership capacity in ways currently not realised.
Biography
Kim Goodwin is a PhD candidate at University of Technology Sydney. Her research explores
career-orientated learning in the Australian creative industries with a particular focus on
leadership development. She currently teaches courses on cultural policy and leadership within
the cultural and creative industries at UNSW Art and Design and has previously worked in both
human resources for the finance industry and a variety of Australian arts organisations.
Assistant Professor Julie Hawkins
Drexel University
Defining Creative Placemaking: Challenges,
Opportunities and Context
In recent years the term “Creative Placemaking” has gained great popularity in the United
States among scholars and practitioners. Its quick and strong growth warrants attention to the
term itself and to other terms associated with it in scholarship and practice. This paper examines
definitions of Creative Placemaking presented in academic and grey literature (ArtPlace America
2015; Kresge Foundation 2012; Markusen and Gadwa Nicodemus 2010, 2014; National
Consortium for Creative Placemaking 2015; National Endowment for the Arts 2013). The growth
of Creative Placemaking’s usage as a moniker and its theoretical roots in urban policy and
planning are examined (Gadwa Nicodemus 2013; Johnson Ashley 2015), as well as its
relationship to other cultural policy constructs including cultural districts, cultural planning, and
arts-based community and economic development (Borrup 2011; Frost-Kumpf 1998; Ghilardi
2001; Dreezen 1998; Mercer 2002; Noonan 2013; Stern and Seifert 2007). Based on the existing
literature, models exploring how these various policy ideas relate to one another are suggested
in order to set the stage for further dialogue regarding the relationships among these terms and
their usage in cultural policy research and in practice.
Biography
Julie Hawkins joined Drexel University as an Assistant Professor of Arts Administration in the fall
of 2011, and became the graduate program’s director in July 2012. She came to Drexel after
serving as Executive Vice President for the Greater Philadelphia Cultural Alliance, where over the
course of twelve years she led the organization’s advocacy, field research, community
engagement, and grant making efforts. At Drexel, she conducts research, advises students, and
teaches courses in arts advocacy, cultural policy, and organizational management. Hawkins is a
board member of the Association of Arts Administration Educators (AAAE), the Philadelphia
Cultural Fund, and the Stockton Rush Bartol Foundation. She holds a BA in Public Policy from
Duke University and an MFA in Dance from Temple University, and was named one of the
region's “Creative Connectors” by Leadership Philadelphia. Hawkins’ research examines the
strategies of individual artists, cultural organizations, and communities, particularly as they
relate to advocacy, cultural policy, and community planning. Guiding this work is a drive to
better understand the value of arts and culture to individuals and communities, as well as how
this value is expressed.
Ana Mota
PhD Student, University of Southampton
Southampton Case study: A city between culture-led
policies and grassroots initiatives
Cultural studies advocate the importance of artistic activities, not only as benefiting local
economy but also with clear positive effects in the social fabric.
The current paper will illustrate the importance of grassroots initiatives in the artistic scene in
medium-sized cities, namely Southampton, located in the southeast region of the United
Kingdom. Southampton is a port city, serving both passenger and containers, and is the selected
case-study. A large Cultural Quarter is at the heart of these recent cultural policies, however
more than advocating creative production, consumption activities are actively being established
in this central area. Contrasting to grassroots initiates, planned cultural policies recently
implemented by the city council may raise several questions about the real benefits of such
organized and concerted efforts. The research will show the effects of indigenous activities in the
creative field, opposing to more planned top-down planned policies.
Based on a series of semi-structured interviews conducted between 2012-2015 with both visual
artists and local planners along with an extensive archival research on recent cultural and urban
policies, the current paper presents the friction between the notions of cultural policies and the
actual needs of local visual artists.
Biography
Ana Mota graduated in Landscape Architecture in 2004 in the Technical University of Lisbon, and
has a Masters in Urban and Environmental Regeneration from the same university. Currently is a
doctoral student at the University of Southampton, Geography and Environment Department, in
the Economy Governance and Culture Research Group. As research interests, public space and
creativity are favourite themes, as the relationship between creative activities as visual arts and
urban fabric.
Cecelia Cmielewski
PhD candidate, University of Western Sydney
Cultural Citizenship - creative and organisational
leadership
How do questions of entitlement and duty relate to the diversity of culture evident within
everyday life, and what is the relationship between an increasingly ‘symbolic’ society and the
practice of politics? (Stevenson, 2003)
One of Australia’s ongoing challenges remains that of genuinely recognising artists of nonEnglish speaking backgrounds as Australian cultural producers. Australia is a highly diverse
society. Collectively, Australians speak approximately 260 languages and practice a variety of
different religions. Since World War II, approximately 7 million immigrants from over 150
countries have settled in Australia. According to the 2011 Census 26 per cent of Australians were
born overseas and an additional 20 per cent have either one or both parents born overseas,
percentages which are among the highest in the developed world. In my PhD thesis, Identity and
Utopia: arts policy in the co-production of multicultural Australia, I argue that to increase the
creative production of artists from non-English speaking backgrounds (NESB), 'creative
leadership' and 'organisational leadership' must work in concert. In this paper, alongside several
issues regarding cultural citizenship, I will elaborate on the ways 'creative leadership' and
'organisational leadership' are elemental to any new social and civil contract that may be led by
the arts.
Biography
Cecelia Cmielewski is undertaking her doctorate at the Institute of Culture and Society at the
University of Western Sydney. Her research interests address inclusion in the creative sectors
with a focus on the relationship between creative production and cultural diversity policies. Her
thesis researches the relationship between the experiences and practices of artists of nonEnglish speaking backgrounds (NESB) and key arts policies through a consideration of the roles
of creative and organizational leadership. She held senior roles at the Australia Council, the
Federal Government’s arts funding and advisory agency between 1998 and 2011. She is also a
curator, most recently curating "meta_narratives" for ISEA2015 in the UAE. She holds an MBA
(University of Adelaide), Bachelor of Design (University of South Australia) and a Bachelor of Arts
(Flinders University).
Dr Bronwyn Coate
Deb Verhoeven
Colin Arrowsmith
RMIT University
Feature Film Diversity on Australian Cinema ScreensImplications for the Domestic Film Industry
Australian cinema screens are dominated by features from the US. This is nothing new and is
reflected in both the volume of distinct first release feature titles that make it onto our screens as
well as in the level of saturation revealed by show-time data. Drawing on a unique show-time
dataset that covers all films screening in Australia over the period 2013-2014 it is shown that the
number of new release films screened at the cinema in Australia has increased markedly in
recent times which is also consistent with reports from Screen Australia and the Motion Pictures
Distributors Association of Australia (MPDAA). In light of increased competition from films for
screen time, this paper explores the dynamics of film exhibition in Australia to consider how
Australian films and filmgoers have fared under these changed circumstances. We analyse the
relationship between cinema venue location, venue type (particularly in terms of the number of
screens) and film programming allocations between Australian, US and other imported feature
films. We find that as more films are being released, non-US films, including Australian films, are
struggling in a tight contest for screen time. As a result we argue that a more nuanced view of
film release and distribution strategies needs to be taken into account when assessing the
relative box-office performance of the local film industry in Australia.
Biography
Bronwyn Coate (PhD) is a Lecturer in Economics in the School of Economics, Finance and
Marketing at RMIT University. Bronwyn’s research has involved the application of quantitate
modelling techniques to various aspects associated with the arts and creative industries.
Dr James Marchant
Assistant Professor & Program Coordinator, Elon University
Commercial and Nonprofit Based Arts in a Small
Community
Provincetown is a small, New England community with a year round population of less than
3,000 people that explodes to as high as 60,000 during the summer tourism months of July and
August. Provincetown has served as an Art Colony since 1899. I look at the mix of commercial
and nonprofit performing and visual arts that take place in this community and how they
address the needs and interests of both residents and tourists. I also address the role these arts
businesses, organizations and artists play in both the summer tourism season and the offseason as well as how they meet their missions and purposes in such a dramatically different
environment. Finally, I discuss how the arts are used to extend the tourism season.
Biography
Dr James C. Marchant is an Assistant Professor and the Program Coordinator at Elon University
in North Carolina for the newly developed undergraduate degree program in Arts
Administration. Previously, Dr Marchant was the Director of the M.F.A. program in Arts
Administration at Southern Utah University. He received his Doctor of Philosophy degree from
The Ohio State University in the area now known as Arts Administration, Education and Policy.
He also received his Juris Doctor degree from Temple University Beasley School of Law and his
undergraduate degree from The American University. He has worked extensively in the
nonprofit sector, both within the arts and with social service organizations. Dr Marchant is
interested in issues surrounding controversial and provocative art work, their place in social
justice development throughout the world and the effect they have on nonprofit arts
organizations. He is also interested in how the arts are utilized to develop, strengthen and
revitalize communities.
Adam Douglass
MFA, Melbourne University
Systems of Psychedelia: Collaborative Painting and
Psychosocial Principles in New Zealand, Australia and
Tonga
Terrence McKenna explains psychedelic experience as “bring(ing) people to the potential and
9
accessibility of a huge, unsuspecting dimension of authentic experience that is of ourselves.” I
am considering this quote in the context of collaborative painting. Similar to the psychonaut
who journeys through the universe of the mind, painting collaboratively allows us to explore the
unconscious self and the potential of the creative collective. I will examine a psychedelic
aesthetic system and questions of democracy through an analysis of three collaborative painting
projects and one rogue installation that I have developed over the past eight years. Each project
involved approximately 200 artists from diverse social backgrounds in New Zealand, Australia
and Tonga. Many of the groups involved were connected with the projects through Non
Government Organisations (NGOs) and are often marginalised by their life situations.
No boundaries related to subject are placed on participants, however they do participate in
preliminary workshops related to this aesthetic model. A consistent focus of these projects is a
lack of institutional and commercial dependence. Making art outside of an institution can
destabilise hierarchies associated with capitalist environments, and this destabilisation is a
motivation when working with communities.
Biography
Adam Douglass is a New Zealand born artist and researcher currently living in Victoria, Australia.
His art practice is broadly associated with animating the abstract, articulating ideas of space and
the collective through painting. Projects range from wall hanging paintings, immersive painted
environments, collaborations, installations, rogue happenings and video.
Adam has exhibited broadly in Australia, New Zealand and Tonga. He has published essays and
been written about in a variety of publications including Un Magazine, Art New Zealand, Art
News New Zealand, Scope: Contemporary Research Topics and The Artists, A Snapshot of
Contemporary New Zealand Art Practice. Upcoming essays will be included in Project Freerange
and Eye Contact.
Alongside lectures and teaching at Melbourne University, Freemantle Art and Design Campus,
Otago Polytechnic School of Art and Vicserve, Adam has worked for numerous community
mental health and social arts programs in various roles. This diverse experience allows him to
consider the parallels of psychosocial rehabilitation and psychedelic painting practice, the
therapeutic values of creativity and the political power of collaboration.
Professor Constance DeVereaux
Director, LEAP Institute for the Arts, Colorado State University
Sustaining What? For Whom? And Why? Culturally
Sustainable Entrepreneurship Among the Botlokoa
People
Knowledge of history and cultural traditions is disappearing among the Botlokoa people of
South Africa. Many reasons align with those found among other marginalized populations
worldwide—influences of dominant Western culture embodied in “globalization” and “
Americanization,” and deliberate suppression of native, or first, culture as a result of
colonialization. The era of apartheid extended the negative effects of colonialization while also
introducing repressive policies restricting (and often punishing) native cultural expression,
identity, and exercise of cultural rights.
This paper extends previous work by the author in the area of culturally sustainable
entrepreneurship using a recent case study conducted in the QwaQwa region of Free State
province in South Africa. Using data from surveys and focus groups, it poses questions reflecting
on the aims of cultural sustainability as a matter of policy among marginalized populations and
the challenges that arise. While it is typical to assume that such populations will exhibit high
interest in culturally sustainable practices at the policy level, this case study raises serious doubts
that have implications more widely. Culturally sustainable entrepreneurship (DeVereaux and
Swanson) is the theoretical framework used. Without denying the importance of cultural
sustainability, the study questions assumptions and challenges policy analysis in this area.
Biography
Constance DeVereaux is widely known for her research in cultural policy and cultural
management. Presently, she is the director of the LEAP Institute for the Arts at Colorado State
University in the United States. She has served as a Fulbright Senior Specialist in Finland, South
Africa, and Romania working in both cultural policy and cultural management and has lectured
internationally on these topics. She is a former executive editor for the Journal of Arts
Management, Law and Society, and serves as international editor for the Journal of Cultural
Management: Arts, Economics, Policy and the Irish Journal of Arts Management and Cultural
Policy. Publications include Narrative, Identity, and the Map of Cultural Policy: Once Upon a
Globalized World co-authored with Martin Griffin, the Cultural Management and the State of the
Field series published by HUMAK University, “Cultural Management and the Discourse of
Practice,” and “Is Art a Fruit or a Vegetable? On Developing a Practice-Based Definition of Art.
” She is the lead organizer for the Arts Management Stream at the European Sociological
Association. Her research interests include culturally sustainable entrepreneurship, everyday
aesthetics, and narrative methods for policy analysis.
Professor Javier Hernandez-Acosta
Universidad del Sagrado Corazón
The Creative Ecosystem as a Cultural Policy Approach
Cultural and creative industries have become one of the new fields of action of cultural policies.
The economic value of culture has been highlighted by many reports from international
organizations, mainly from the traditional economic indicators of revenues, employment and
international trade. Following this approach, governments have created industrial policies
whose main objective is to create and develop firms that generate high value added for the
economy.
However, this approach minimizes the nature of cultural and creative industries in terms of its
informality, organic management, cultural value, linkages with other sectos and networking. The
aim of this paper is to present the concept of creative ecosystem as the basis of a strategy for
the development of cultural and creative industries. The concept of ecosystem presents a
balance between supply and demand, considering factors such as education, diversity,
decentralization, education, public policy and consumer profiles, among other factors. One of
the main proposals of this article is to present the broad environment that requires creative
economy beyond firms to generate economic value in the medium and long term.
Biography
Javier J. Hernández-Acosta, Full-time faculty in the Business Administration department at
Universidad del Sagrado Corazón and lecturer at the Master Program in Cultural Agency and
Management at the University of Puerto Rico. Founder of Inversión Cultural, a project that
support cultural entrepreneurs in Puerto Rico. His main research interests includes creative
economy, cultural policy, cultural entrepreneurship and arts management. Is the author of the
Profile of the Creative Economy in Puerto Rico, has published in various books on cultural
industries and presented in conferences in United States, Canada, Cuba, Colombia, Brazil, Japan,
The Netherlands and Belgium. He is also a musician (latin percussionist) and has been an advisor
for the government in cultural policies and creative economy.
Gavin Artz
Principal Project Officer, Innovation/PhD Candidate, Department of State
Development
Embedding Specialist Creatives for Innovation:
Utilising networks and open innovation to enhance a
creative economy
When exploring Creative Industries, the Trident Methodology presents a contemporary
definition of Creative Occupations across an economy. These Creative Occupations are divided
into Specialist Creatives and Embedded Creatives. Embedded Creatives currently have the most
significant impact on economy development, while Specialist Creatives are often seen as having
a more significant cultural, rather than economic development impact.
With the rapid development of artificial intelligence, machine learning and cognitive
automation, Creative Occupations will be one of the few areas of an economy where
employment and value adding opportunities will be maintained. These trends highlight that the
value of Specialist Creatives, especially in the creative cultural sphere, will need to be better
utilised for economic development purposes.
Specialist Creatives are the least integrated into economy development activity. Innovation
provides an existing framework for integrating Specialist Creatives if seen from the perspective
of network theory and open innovation.
This paper explores the integration of Specialist Creatives through case studies of co-operative
work environments and their associated communities.
Biography
Gavin Artz holds a Bachelor of Arts from La Trobe University, an MBA from the University of
South Australia and is currently a PhD candidate at the University of South Australia’s School of
Management. His research investigates the integration of creativity into real world innovation
systems.
He develops innovation projects at the Department of State Development (DSD) and advises on
innovation, entrepreneurship and creative economy policy and strategies for the State. At the
DSD, he is a member of the Creative Economy Taskforce that is developing a Creative Economy
Strategy for South Australia.
Gavin has a long history in the creative industries. As CEO at the Australian Network for Art and
Technology, he led a cross-disciplinary program that placed creative industries into science and
technology research environments in Australia and around the world. He was a founding
Director of the Australian Design Alliance and was Chair of the successful bid committee for ISEA
2013 held in Sydney.
He has published papers on innovation, creativity, governance and the arts and has been an
industry partner on two ARC Linkage research projects in the creative industries.
Professor Deborah Stevenson
University of Western Sydney
Associate Professor Jo Caust
University of Melbourne
Recalibrating Culture: Cultural Labour and Changing
Forms of Cultural Production
Over the last decade the number of Australians engaging in paid or unpaid cultural activity has
increased by over fifty per cent and yet little is known about this major change in the structure of
creative work (ABS 2012). Recalibrating Culture is an Australian Research Council funded
Linkage project that is analysing the changing shape of cultural production in Australia through
a case study of the cultural economy of its most dynamic urban area, Greater Western Sydney
(Psychogios & Artup 2015). Reporting on the findings of a major survey of cultural workers,
which is the first phase of the project, this paper provides insights into the nature of
contemporary cultural employment by highlighting key forms of professional development, the
importance of networks and diverse practitioner communities, and the nature and location of
the spaces in which creative work is undertaken. Also revealed are the resources and services
regarded as critical to creative practice. The paper contributes to theoretical-conceptual
understanding and empirical knowledge of cultural labour and to a cultural policy approach that
is aligned with rapidly changing conditions and the practices of the ‘new’ cultural economy
(Shorthose & Strange 2012).
Biography
Deborah Stevenson is a Professor of Sociology and Urban Cultural Research in the Institute for
Culture and Society at the University of Western Sydney. Her research is focused in particular on
arts and cultural policy, cities and urban life, and place and identity and she has published widely
on these topics including the recent books, The City (Polity), Cities of Culture: A Global
Perspective (Routledge) and Tourist Cultures: Identity, Place and the Traveller (co-authored,
Sage). In addition, she is co-editor of the Research Companion to Planning and Culture
(Ashgate) and Culture and the City: Creativity, Tourism, Leisure (Routledge). Professor Stevenson
is an editor of the Journal of Sociology and the Journal of Policy Research in Tourism, Leisure
and Events and a member of the editorial boards of leading journals, including the International
Journal of Cultural Policy. She has been a chief investigator on seven successful ARC grants with
her two current ARC projects being 'Recalibrating Culture: Production, Consumption, Policy' and
'Australian Cultural Fields: National and Transnational Dynamics'. Professor Stevenson has
worked as an advisor and consultant to all levels of government and was a member of the
Ministerial Reference Group for the NSW Arts and Cultural Policy Framework.
Associate Professor Jo Caust is Principal Fellow (Hon) in the School of Culture and
Communication at the University of Melbourne and formerly Associate Professor in Arts and
Cultural Management at the University of South Australia. Her recent publications include Arts
Leadership in an Asian context (Routledge Asia Studies 2015) and Arts Leadership: International
Case Studies (Tilde University Press in 2013). She was Founder Editor of the Asia Pacific Journal
of Arts and Cultural Management and is the author of many articles, book chapters, research
reports and conference papers. Prior to her academic career, Dr Caust worked in the arts sector
as an arts practitioner, manager, bureaucrat and consultant and is Director of JoCaustArts, a
broad based arts consultancy company. As part of her consultancy work she is working with the
Institute for Culture and Society at the University of Western Sydney on an ARC Linkage
Research Project titled “Recalibrating Culture”. Dr Caust has undertaken extensive work in
several Asian countries and in Australia running workshops on different topics including cultural
policy, arts leadership and new ways of income generation.
Assistant Professor Brea Heidelberg
Internship Coordinator, Rider University
Identifying and Assessing Knowledge Expectation
Gaps in Entry-Level Arts Management Jobs
There are a growing number of undergraduate arts management programs in the United States.
These programs experience some of the same criticism as their graduate counterparts with
regard to and the career-readiness of graduates. This work seeks to begin addressing those
concerns by comparing postings for entry-level arts management positions with curricula from
undergraduate arts management programs. Through the use of NVivo, content analysis was
conducted to compare desired entry-level skillsets, as stated by potential employers, with the
learning objectives of university-based programs. This investigation serves as the foundation for
deeper, systematic exploration of field perceptions about university-based training for future
arts administrators.
This work seeks to investigate the potential impact of undergraduate arts management
programs on the entry-level arts management labor market. Do employers expect
undergraduate programs to equip students with the knowledge and skills required by today’s
arts organizations? Do undergraduate arts management curricula reflect the current and future
needs of the field of arts management? In addition to furthering discussions of arts
management education and the connections between the classroom and the field, this
investigation is a first step toward the exploration of hiring practices of arts organizations.
Biography
Dr Brea M. Heidelberg is an Assistant Professor & Internship Coordinator in the Arts
Administration program at Rider University. Dr Heidelberg serves as a board member of
Artworks Trenton, on Americans for the Arts’ Emerging Leaders Council, and on the board of
the Association of Arts Administration Educators. She earned a PhD in Arts Administration,
Education & Policy from The Ohio State University, where her research focused on arts advocacy
arguments and policy entrepreneurship at the federal level. Her other research interests include
diversity in arts organizations, evaluation, human resources development in nonprofit arts
organizations, and professionalization of the field of arts management.
Katharine Thornton
Research Assistant, Zero Waste SA Research Centre for Sustainable Design &
Behaviour, School of Art, Architecture & Design, University of South Australia
What happened to the Waterhouse? A cultural
institution’s successes and failures at science
communication via an international art competition,
2003-2014
This paper draws on post-structuralist scholars’ work about the crucial roles of language and
representation in policy successes and failures to dissect a discrete case-study — a cultural
organisation’s efforts at science communication via an international art competition — the
Waterhouse Natural Science Art Prize (the Waterhouse). The Waterhouse was established in
2002 as an international art prize conducted under the auspices of the South Australian Museum
with four overlapping aims: (i) to encourage contemporary artists to explore natural history art
practices; (ii) to promote the Museum’s existence, and work in natural sciences; thus (iii)
facilitating the public’s understanding of ‘science’; and (iv) increasing general awareness of
the environmental challenges confronting humanity.
The Waterhouse was held annually from 2003 to 2014 and attracted a diverse range of entries
from Australian and international artists, both amateur and professional. A committee of judges
(experts in art and/or science) selected the finalists from these entries, which were curated in an
exhibition for the South Australian Museum. While generally well received, the Waterhouse also
caused controversy — usually due to (mis)understandings of ‘natural history’ and ‘art’.
This makes it an intriguing example of individual and institutional efforts to use art and cultural
programs to create values.
Biography
An historian by training, Katharine Thornton is a graduate of the universities of Adelaide, New
South Wales and Flinders. She currently investigates sustainability in policy and practice for the
Zero Waste SA Research Centre for Sustainable Design and Behaviour, which is located in the
School of Art, Architecture and Design at the University of South Australia (UniSA). Her most
recent projects include writing a report on age-friendly initiatives and urban design policy for
the City of Unley and organising an international conference with a linked design exhibition,
Unmaking Waste 2015: Transforming Production and Consumption in Time and Place at UniSA.
Katharine project managed the Unmaking Waste exhibition and presented two papers at the
conference: the first was on policy solutions for the global environmental problem of “garbage
patches” in oceanic gyres and the second on her 20-year art practice of “magpie making”. In
2010, Katharine’s commissioned history of a major South Australian educational institution, St
Peter’s College, was published by Wakefield Press under the title, The Messages of its Walls
and Fields: A History of St Peter’s College, 1847-2009. The same year, her sculpture, ‘Great
Nature’s Second Course’, was a finalist in the Waterhouse Natural History Art Prize.
Assistant Professor Kathleen Gallagher
Southern Methodist University
Matthew Ehlman
PhD Candidate, Indiana University
Associations as Lifelines: Do artists' networks increase
arts sustainability
Researchers have shown that the arts benefit the economy, attract the creative class, revitalize
urban areas, increase social cohesion and civic engagement, increase educational outcomes,
and provide health benefit. Understanding the sustainability of the arts industry, therefore, is
important for artists, arts organizations, policymakers, and public administrators. Artists
simultaneously contribute to and are shaped by the ecology where they operate. Artists
colonies, communities, and, in modern day terminology, networks are not modern inventions.
They are an important tradition of artistic life and may influence artists and their business. This
paper will examine four US communities with artists’ networks. The first network is the result of
a state designation. The second is a network of resident artists that have relocated to a small
town. The third network formed as the result of grass roots efforts in a small mid-western city.
The fourth network is composed of First Nations artists. This paper will report findings from a
survey of artists in all four communities and address the role of formal and informal networks in
creating lifelines for artists.
Biography
B. Kathleen Gallagher is Assistant Professor of Arts Management and Arts Entrepreneurship at
Southern Methodist University and Research Associate at the National Center for Arts Research.
Gallagher completed her Ph. D. in Public Affairs at the University of Colorado. Her research
explores sustainability of the arts sector. She has presented at conferences in United States,
Canada, Italy, Ireland, France, and Japan. She is qualified as a Certified Appraiser of Fine Arts.
Matthew P. Ehlman is a PhD candidate at the Lily Family School of Philanthropy – Indiana
University. Ehlman’s dissertation focus is on the motivations of donors supporting indigenous
and rural organizations. He cofounded The Numad Group, a fundraising and communication
consulting firm that works with nonprofit organizations serving the arts, education, and
immediate needs. Ehlman is an owner of The Garage coworking space, a creative space in the
Black Hills. He has been named a 2015 Bush Fellow.