scholarly journals Creative Industries and the Place of the Arts in University Interpreting-translation Programmes

2015 ◽  
Vol 191 ◽  
pp. 580-583 ◽  
Author(s):  
Dagmar Veselá ◽  
Katarína Klimová
Keyword(s):  
Creative Industries ◽  
The Arts

scholarly journals Occupations and Professionalism in Art and Culture

2015 ◽  
Vol 5 (2) ◽  
Author(s):  
Lennart G. Svensson
Keyword(s):  
Social Capital ◽  
Creative Industries ◽  
Special Issue ◽  
Theoretical Concepts ◽  
Academic Field ◽  
Emotional Labour ◽  
The Arts ◽  
Arts And Culture ◽  
Art And Culture

The article introduces the topic of this special issue on artists and professionalism from the perspective of the sociology of the arts and culture, in order to demonstrate how the contributions significantly develop studies of professions in general. Some theoretical concepts are defined and discussed: culture, arts, occupations, professions, status, field, symbolic and social capital, emotional labour, and reversed economy. An illustration is used to demonstrate pricing in arts and what may explain it. There is a focus on the field of art with a brief comparison to the academic field. In this issue we find studies on artists, authors, and theatre actors, which provide significant contributions to these themes in theories and studies of professions.Keywords: creative industries, creative occupations, professions, status, field, symbolic and social capital 

Gentrification, displacement and the arts: Untangling the relationship between arts industries and place change

Urban Studies ◽  
2016 ◽  
Vol 55 (4) ◽  
pp. 807-825 ◽  
Author(s):  
Carl Grodach ◽  
Nicole Foster ◽  
James Murdoch
Keyword(s):  
Urban Policy ◽  
Statistical Study ◽  
Change Agents ◽  
Creative Industries ◽  
Standard Account ◽  
Clear Cut ◽  
The Arts ◽  
Neighbourhood Level ◽  
The Relationship

The arts have long played a role in debates around gentrification and displacement, yet their roles and impacts as change agents are not clear-cut. According to the standard account, artists facilitate gentrification and ultimately engender the displacement of lower income households, but more recent research complicates the accepted narrative. This article seeks to untangle the relationship between the arts, gentrification and displacement through a statistical study of neighbourhood-level arts industry activity within large US regions. The findings indicate that the standard arts-led gentrification narrative is too generalised or simply no longer applicable to contemporary arts-gentrification processes. Rather, the arts have multiple, even conflicting relationships with gentrification and displacement that depend on context and type of art. These results have important implications for how we study the role of the arts in neighbourhood change and for how governments approach the arts and creative industries in urban policy.

scholarly journals A dramatic existence: Undergraduate preparations for a creative life in the performance industries

2020 ◽  
Vol 34 (4) ◽  
pp. 272-283
Author(s):  
Rachel Delta Higdon ◽  
Kate Chapman
Keyword(s):  
Performing Arts ◽  
Creative Industries ◽  
Creative Arts ◽  
Public And Private ◽  
The Public ◽  
The United Kingdom ◽  
The Arts ◽  
Research Findings ◽  
The University ◽  
Creative Life

This article focuses specifically on drama and theatre higher education (HE) programmes and preparation for potential graduate work. The article investigates working in the creative industries and in the performing arts (particularly within acting) and how HE students in the United Kingdom prepare for this life. The growth of the creative industries and successful applied drama in the public and private sectors has also brought business interest in how drama and theatre processes can benefit other workplaces, outside of the creative arts. The article addresses current policy, initiatives and partnerships to broaden inclusion and access to creative work. The research explores drama undergraduate degrees and the university’s role in supporting a successful transition from HE to graduate work. Students perceive the university world as safe and the graduate world as precarious and unsafe. The research findings have resonance with other undergraduate degrees, outside of the arts and the role the university plays in student transitions from the university to the graduate environment.

The culture of consumption

Scene ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 75-86
Author(s):  
Christine White
Keyword(s):  
United Kingdom ◽  
Culture Media ◽  
Labour Force ◽  
Creative Industries ◽  
Digital Culture ◽  
Positive Contribution ◽  
Stem Learning ◽  
The United Kingdom ◽  
The Arts ◽  
Cultural Sector

Abstract The creative and cultural arts sector in the United Kingdom, most often termed the 'arts and cultural industries' in 2011 had a turnover of £12.4 billion published in Create Arts Council England. The Centre for Economic and Business Research (CEBR) stated that the arts and cultural industry in 2016 was responsible for £21.2 billion direct turnover, which involved 137,250 jobs. This sector pays 5% more than the UK median salary and so makes a positive contribution to an average household. This industry also plays an important role in supporting wider commercial activity. This includes tourism spend estimated as £856 million and this includes film production advertising, design and crafts all of which is also showcased overseas. In addition, this sector's work is seen to have a wider benefit for health and wellbeing. For example, those who attended a cultural place or event in the preceding twelve months were 60% more likely to report good health and in terms of spend, people valued being in an audience for the arts as they spent £2000 a year on events, which is more than for sport, as cited in the Arts Council England report of 2014. The continued need for reports and advocacy for the value of the arts and how that value should be ascribed is frustrating as there is a continued and pervasive sense that these areas are still of less value when compared with STEM learning and industrial activity, yet there are an estimated 89,000 jobs in museums, galleries and libraries and 296,000 jobs in music, performing and visual arts. In 2018, the number of jobs in the creative industries sector stood at just over two million, an increase of 1.6% from 2017. The sector accounted for 6.2% of UK jobs in 2018. The number of jobs in the creative industries has increased by 30.6% from 2011: three times the growth rate of employment in the United Kingdom overall (10.1%) (Department for Digital, Culture, Media and Sport [DCMS] 2018). The cultural sector had a workforce of 659,000, a fall of 2.1% from 674,000 in 2017 (a record number). The sector accounted for 2.0% of all UK jobs in 2018. Since 2011, the cultural sector workforce has grown by 21.0%.All of these sectors do not include tourism; however, we know that when people are tourists, they are doing and seeing stuff which is most often in the realm of cultural and creative sector developed activity. Across Europe and by their different methodologies of definition of the cultural sector, defined anyone employed in an economic sector defined as 'cultural', irrespective of whether they are employed in a cultural occupation and all persons with occupations relating to culture are included, even if the people concerned are employed in non-cultural sectors ‐ the number is 8.7 million people (European Union Labour Force Survey: EU-LFS).

scholarly journals Subjugated in the Creative Industries: The Fine Arts in Singapore

2011 ◽  
Vol 3 (2) ◽  
pp. 119-137 ◽  
Author(s):  
Can-Seng Ooi
Keyword(s):  
Fine Arts ◽  
Economic Value ◽  
Creative Industries ◽  
Work Place ◽  
Art World ◽  
The Public ◽  
The Arts ◽  
Art Practices ◽  
City State ◽  
The City

The arts and culture are considered core in a creative industries strategy. But the promotion of the creative industries brings about revised notions of creativity. These revised notions are being applied to the arts. Creativity is now seen to be largely manageable. All individuals are made to believe that they can be creative. Not only that, creativity is seen to be a money spinner. Workers should tap into their creativity and bring about innovations in the work place. Pupils are taught to tap into their creativity and to think outside the box. Such views on creativity galvanize the public and enthuse many people into the creative industries. Such notions of creativity contrast against the fine arts. Regardless, as this paper examines the situation in Singapore, shows that fine artists in the city-state are finding themselves internalizing a market logic and have tied their art practices to economic value. Fine arts practices will not be as lucrative or popular as their counterparts in the other creative businesses; they will remain poor cousins in the creative industries. Essentially, the fine arts are being subjugated in the creative industries and the Singaporean art world is being changed.

scholarly journals Creative clusters: Typology, characteristics, financial models and success factors

Kultura ◽  
2020 ◽  
pp. 249-276
Author(s):  
Lidija Varbanova
Keyword(s):  
Value Chain ◽  
High Speed ◽  
Success Factors ◽  
Business Models ◽  
Creative Industries ◽  
Cultural Participation ◽  
The Arts ◽  
Global Pandemic ◽  
The World ◽  
Negative Effect

The global pandemic is changing the world in significantly high speed and in many dimensions-economic, social, cultural, digital. Covid-19 certainly had a negative effect on all sectors requiring traveling and physical presence, including many arts and culture events and organisations, as well as sectors that are complementary to the culture and creative industries value chain. Despite, the global pandemic opened up new opportunities of living more among our communities, consuming more local products, reorganising our life to be more resilient, catalyzing both business and social innovations, using much more digital and online tools, including also for further increase of cultural participation and democratisation of the arts. In the last few months we have received plenty of evidences worldwide that culture does contribute to the economic and social vitality of cities across the world. This paper aims to identify the essence and key characteristics of "creative clusters" (CCs) and to offer a typology of their diverse forms of existence. It also summarises key business models and sources of external financial support for development of CCs. Finally, the paper draws key success factors for their development. The research for elaboration of this paper was done during 3-months long period (April-June 2020) in collaboration with Nikoloz Nadirashvili and Creative Georgia, within the framework of the Project - "Designing a Creative Cluster Ecosystem in Georgia" under the support of UNESCO and the European Commission. The research methods used for elaboration of this paper are: desk research of documents and publications, mapping and analysis of diverse cases and targeted in depth interviews with professionals and managers running creative clusters.

scholarly journals Pemberdayaan KWT Citra Mandiri melalui Pengembangan Produk Olahan Berbasis Aloe vera di Kecamatan Tapos, Depok

2017 ◽  
Vol 3 (1) ◽  
pp. 71
Author(s):  
. Rahmawati ◽  
Mohammad Sabariman ◽  
Susilo Utomo
Keyword(s):  
Food Packaging ◽  
Market Access ◽  
Aloe Vera ◽  
Good Manufacturing Practice ◽  
Creative Industries ◽  
Appropriate Technology ◽  
Women Farmers ◽  
The Arts ◽  
Training Community ◽  
Home Industries

Service activities such as science, technology and the arts for the people (IbM) to the group of women farmers and processors of aloe plant (Aloe vera) namely Citra Mandiri in Tapos Districts, Depok (as a partner) has the following objectives: 1) Standardization of nata Aloe vera product to be a good processed with consistently and desired products; 2) Diversification of Aloe vera products; and 3) Improvement and business management technical training. Community service team, who act as facilitators have been mentoring to improve the product quality Aloe vera nata to be consistent, to develop new products as diversification of candy and puddings of Aloe vera with the appropriate technology for home industries with a current good Manufacturing Practice and hygienic environment. To expand the market access, the team also trained collaborators about food packaging and labeling. In addition, a collaborators become a member of the Creative Industries Association of Depok to increase their market access and network.

Planting the seed to grow local creative industries: The impacts of cultural districts and arts schools on economic development

2018 ◽  
Vol 50 (5) ◽  
pp. 1047-1070 ◽  
Author(s):  
Shiri M Breznitz ◽  
Douglas S Noonan
Keyword(s):  
Digital Media ◽  
The United States ◽  
Creative Industries ◽  
Creative Economy ◽  
The Arts ◽  
Cultural Districts ◽  
Arts Programs ◽  
The Impact ◽  
Art Schools ◽  
Zip Code

The impact of arts and culture on local economies has been studied extensively. However, a review of the literature finds conflicting and critical results regarding the impact of cultural on economic outcomes. In this paper, we shift attention to examine different intermediaries and concentrations of cultural agents that can influence growth and innovation in the “creative economy.” Thus, we build on previous work and expand on it by refining the scale of analysis (zip-code level). The paper focuses on education in the arts and digital media in all arts-related programs at universities as well as accredited art schools across the United States. Further, employing more observations for larger cities allows a richer depiction of the rather urban nature of the arts and digital media industries. We find that, by going to the zip-code level, we can say that both districts and arts programs (especially at schools that specialize in arts education) have a positive relationship with the share of jobs in the arts and digital media. Moreover, when we evaluate the impact of schools versus districts, we find that schools have a greater role.

scholarly journals The Arts Incubators, Influence on the Development of System Innovations

2014 ◽  
Vol 22 (2) ◽  
pp. 126-136 ◽  
Author(s):  
Jūratė Černevičiūtė ◽  
Rolandas Strazdas
Keyword(s):  
Clustering Analysis ◽  
Creative Industries ◽  
Creative City ◽  
The Arts ◽  
Cultural And Creative Industries

This paper discusses the arts incubators’ influence on the development of system innovations and on the ensuring the sustainability of the creativity process in the creative industries’ enterprises. The influence of cultural and creative industries on the economy development is analysed in the article. The analysis of system innovations’ specific features and importance for creative industries is presented. The paper analyses the arts incubators as a part of creative city and as a creative cluster. The factors for the sustainability of creativity process are identified as well as the role of the arts incubators when ensuring the sustainability of system innovations development. Clustering analysis of Vilnius arts incubators was made and the proposals how the existing arts incubators can contribute to the development of system innovations in creative industries were presented.

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