Constructing habitus: promoting an international arts trend at the Singapore Arts Festival

The Singapore Arts Festival (SAF) is Singapore’s largest government-supported international arts festival. SAF presents the best in international and local arts, in an attempt, to develop what it perceives to be a lack of cultural knowledge of the Singaporean arts-going public. Using Pierre Bourdieu’s key concept of ‘habitus’ together with an analysis of the programming of the festival, this paper will highlight how the festival seeks to create a specific cultural taste in Singaporean art-goers through privileging and promoting works that are internationally marketable to European countries. The paper will conclude that this programming style occurs at the expense of Singaporean artists and hinders the development of the city’s state cultural and artistic development

Building audiences: Aboriginal and Torres Strait Islander arts

Building Audiences examines the barriers to and the strategies for increasing audiences in the Aboriginal and Torres Strait Islander arts sector. This research investigates the attitudes, beliefs and behaviours of current and potential audiences. What is in the report? The findings reveal the key barriers facing audience attendance include: uncertainty about how to behave at cultural events and fear of offending lack of awareness with audiences not actively seeking information about Indigenous arts and outdated perceptions of the sector – that it is only perceived as ‘serious or educational’. Building Audiences also considered several strategies to build audiences for Indigenous arts: providing skills development, advice and resourcing to Indigenous practitioners within the arts sector; increasing representation of Indigenous artists in the main programing of arts companies by including more Indigenous people in decision making roles; promoting relationships between Indigenous arts and non-Indigenous companies to present their work to wider audiences; introducing children and young people to Indigenous arts through schools and extracurricular activities; allowing audiences to feel comfortable engaging by creating accessible experiences; implementing long-term strategies to change negative perceptions of Indigenous arts. The project was commissioned by the Australia Council for the Arts and funding partners include Australia Council for the Arts; Faculty of Business and Law and Institute of Koorie Education, Deakin University; Melbourne Business School, The University of Melbourne

A Laboratory for Relevance: Findings and Recommendations from the Arts Innovation Fund

Starting in 2006, a group of leading California arts institutions set out to innovate with new ways of working in the 21st century. With support from the Arts Innovation Fund of The James Irvine Foundation, they approached the challenge of innovation in a variety of ways, with a wide range of objectives and results. Across the board, the experimentation process prompted organizational reflection and change. Most grantees developed new levels of adaptive capacity, an attribute that many thought leaders believe will be essential for arts organizations, and the arts sector as a whole, to thrive into the future. After a strategic qualitative review of the innovation projects pursued by organizations participating in the Arts Innovation Fund, the Slover Linett evaluation team offers the following report with its insights and recommendations

Building Deeper Relationships: How Steppenwolf Theatre Company Is Turning Single-Ticket Buyers Into Repeat Visitors

Describes the company's strategies to engage all audience members, including through post-show discussions, special events, diverse online content, and equal treatment of subscribers and non-subscribers; outcomes; and contributing factors

Bright Spots Leadership in the Pacific Northwest

The operating environment for nonprofit cultural organizations today is daunting. Demographic shifts, changing participation patterns, evolving technology, increased competition for consumer attention, rising costs of doing business, shifts in the philanthropic sector and public funding, and the lingering recession form a stew of change and uncertainty. Every cultural organization is experiencing a combination of these shifts, each in its own way. Yet, while some organizations are struggling in this changing context, others are managing to stay healthy and dynamic while operating under the same conditions as their peers. These groups are observable exceptions, recognized by their peers as achieving success outside the norm in their artistic program, their engagement of community, and/or their financial stability. These are the "bright spots" of the cultural sector.Who are they? What are they doing differently? What can we learn by studying their behavior?To explore these questions, the Paul G. Allen Family Foundation asked Helicon Collaborative to conduct a study of cultural groups in the Pacific Northwest. The project had two goals: 1) to identify "bright spots," defined as cultural organizations that are successfully adapting to their changing circumstances without exceptional resources, and 2) to see if these organizations share characteristics or strategies that can be replicated by others

Globalization and Chinese Contemporary Art: West to East, East to West

In this article, Carter tells the weaving tale of the globalization of art and the interplay between eastern and western contemporary art. Carter sketches out the history of contemporary art in China with a keen eye towards the interplay between Chinese artists and the various western influences over time, such as the 16th century Jesuit artists, Impressionism, Cubism, Fauvism, and Dada to name a few. This history is marked by a ubiquitous tension as Chinese artists incorporated western innovations into their work, while also maintaining the poetic and literary foundation of Chinese art. Coupling that with the influence of the Cultural Revolution and Soviet realism on the Chinese are world, Carter discusses the tenuous boundaries upon which Chinese art has been and continues to be produced. After considering this history, Carter goes on to analyze the effect Chinese art has on the western art world--both how it shapes the western art world and how this globalization, in turn, shapes Chinese art. In navigating this boundary, Carter explains how Chinese artists find mediate appealing to a global audience while maintaining their Chinese roots. Carter concludes this essay by considering the economic success of Chinese art in the west and drawing attention to the negotiations still taking place today between local culture/global culture, tradition/innovation and authenticity/market appeal

Los Angeles County Arts Commission Cultural Equity and Inclusion Initiative Literature Review

This literature review is intended to investigate and provide background information on how others have addressed the question of improving "diversity in cultural organizations, in the areas of their leadership, staffing, programming and audience composition", both through academic research and practitioner experience. The literature lends these concepts into a division by slightly different categories, as follows: Boards of Directors in Arts and Culture Organizations The Arts and Culture Workforce Audiences and ProgrammingAudiences and programming are closely intertwined in the literature, and thus are combined in this report. Culturally specific arts organizations and their potential contribution to diversity, cultural equity and inclusion in the arts ecology emerged as a potentially powerful but not yet fully understood set of actors, so this topic was added as a fourth section in this report: Culturally Specific Arts OrganizationsThe report begins with a background discussion on diversity, cultural equity and inclusion in arts and culture, and it concludes with a series of broad lessons that emerged from the literature that apply to all four of the areas identified by the Board of Supervisors in their motion

Getting In On the Act: How Arts Groups are Creating Opportunities for Active Participation

Arts participation is being redefined as people increasingly choose to engage with art in new, more active and expressive ways. This movement carries profound implications, and fresh opportunities, for the nonprofit arts sector.We are in the midst of a seismic shift in cultural production, moving from a "sit-back-and-be-told culture" to a "making-and-doing-culture." Active or participatory arts practices are emerging from the fringes of the Western cultural tradition to capture the collective imagination. Many forces have conspired to lead us to this point. The sustained economic downturn that began in 2008, rising ticket prices, the pervasiveness of social media, the roliferation of digital content and rising expectations for self-guided, on-demand, customized experiences have all contributed to a cultural environment primed for active arts practice. This shift calls for a new equilibrium in the arts ecology and a new generation of arts leaders ready to accept, integrate and celebrate all forms of cultural practice. This is, perhaps, the defining challenge of our time for artists, arts organizations and their supporters -- to embrace a more holistic view of the cultural ecology and identify new possibilities for Americans to engage with the arts.How can arts institutions adapt to this new environment?Is participatory practice contradictory to, or complementary to, a business model that relies on professional production and consumption?How can arts organizations enter this new territory without compromising their values r artistic ideals?This report aims to illuminate a growing body of practice around participatory engagement (with various illustrative case studies profiled at the end) and dispel some of the anxiety surrounding this sphere of activity

Increasing Cultural Participation: An Audience Development Planning Handbook for Presenters, Producers and Their Collaborators

Looks at how people-centered strategies for building public participation in high-quality arts programs can help institutions of varied disciplines and sizes to diversify, broaden, and deepen relationships with their communities