Interaction between Cultural/Creative Tourism and Tourism/ Cultural Heritage Industries

The chapter presents a review of the conceptions of cultural and creative tourism, their resources, objectives and their benefit and damage to the nature and the society. It is very important in the postmodern society to not only develop cultural tourism that is one of the most rapidly growing branches of economy, but also to employ cultural heritage and does not always develop the common heritage and tourism industry. This is an especially sore point because the common cultural heritage and tourism industry has an opportunity to create added financial value for cities, regions, and it also develops a responsible conserving cultural tourist. Creative tourism is different from cultural tourism in that it provides tourists with experiences through their direct participation in offered tourism activities. Another idiosyncratic feature is that creative tourism travel packs are created by not only tourism organisations, but also communities that have authentic tangible and intangible heritage. It is important to note that cultural tourism can transform into creative tourism. Heritage tourism is of great importance as well because it relates to the aforementioned types of tourism. ‘Red’ tourism can be distinguished as a type of heritage tourism that attracts tourists’ attention

The Role of the Artist in a Communal Art Project

Art Project Management is a limited time process and a specific way of thinking that ensures that all the project stages are carried out in a planned and structured manner, that the project is finished with successful implementation of the aim of the project (MPSI, 2016, p. 71). When analysing art projects, Dovydaitytė emphasises they are often characteristic of a process, interdisciplinarity and multi-directional relations with a wider social context (Dovydaitytė, 2014). When carrying out a communal art project in a community, an artist can perform the following different functions: facilitator, interpreter, trainer, animator, mentor, consultant, project manager. Scientists attribute functions to artists differently in communal art projects. Often, communal art projects include a professional artist who comes with one of the roles that s/he has, curates the entire process and is responsible for management and, of course, engages the community. Moreover, an artist can be not only the creator, but also the manager of the whole project. The main role of a project manager is to unite members of the community, help them collaborate, and ensure as well as evaluate the final results of the art project

Functions Ofeducationalactivitiesin Cultural Centersfrom Thecommunity Development Perspective

This paper aims to analyse the role that cultural centres in Lithuania and Lithuanian cultural organisations in the Kaliningrad region and Belarus play in organizing educational activities for the local communities. The aim of this article is to identify functions ofthe educationalactivitiesof cultural centres and Lithuanian cultural organisations revealing theirimpact on thelocal communitydevelopment. Semi-structured interviews were conducted in 4 Lithuanian cultural centres and 6 Lithuanian cultural organisations of border regions in Lithuania, Belarus, and Russia, the Kaliningrad region. The sample consists of 55 informants from Lithuanian cultural communities and cultural centres. The content analysis and comparative analysis methods were applied for the data analysis. The study revealed that educational activities would lead to active participation of members in community development. The following functions of educational activitieswere identified: dissemination of knowledge, empowerment, self-realization, enlightenment, value development, recreation, communication, national identitystrengthening, and community mobilization.

Organisational Improvisation as a Metaphor of Jazz Improvisations in Contemporary Art Organisations

The article discusses the concept of organisational improvisation and reveals why it is important for contemporary organisations. Organisational improvisation is more and more acknowledged as a relevant field of management research; however, heads of most organisations still believe that detailed plans accompanied by various bureaucratic procedures are important, and that improvisation is a sign of failure, is risky and is to be avoided. The article discusses the three levels of improvisation (individual, interpersonal and organisational) pointing out its possibilities and advantages. Peculiarities of organisational improvisation are provided along with the results of a case study of public institution Jazz Academy. In this way, this article is the first study of organisational improvisation in Lithuania. The aim of the article is to reveal the peculiarities of organisational improvisation

Moterų iniciatyvos Lietuvos Persitvarkymo sąjūdyje (1988–1989)

Over 30 years have passed since the beginning of the Reform Movement; however, women’s initiatives in the Reform Movement of Lithuania have not been analysed. Commemorating the anniversary of the Reform Movement, Seimas of the Republic of Lithuania declared 2018 as the year of the Reform Movement and highlighted the period of 1988-1990 as a period of great importance in the Lithuania history when Seimas of the Reform Movement acted as a partial yet legal democratic representative of the nation in the Soviet occupation system. The article analyses women’s engagement into the initiative groups of the Sąjūdis, their participation in the initiative group and congress. The aim of this article is to shed light on the role of women in the building of the Soviet Union and the specific nature of the activities of the women's Sąjūdis, the degree of involvement, the problems raised and the solutions proposed. In order to achieve this goal, the archival material contained in the fund of the Lithuanian Perestroika Sąjūdis of the New Archive of the Lithuanian State, the fund of the Kaunas Movement of the Kaunas Regional State Archive, the periodical press of the time were analysed, and the following scientific research was made available.Nuo Sąjūdžio pradžios praėjo daugiau nei trisdešimt metų, tačiau moterų inciatyvos Lietuvos persitvarkymo sąjūdy nėra analizuotos Lietuvos Respublikos Seimas, minėdamas Sąjūdžio jubiliejų, 2018-uosius paskelbė Sąjūdžio metais ir 1988–1990 metus išskyrė kaip ypač svarbų Lietuvos istorijos laikotarpį, kai sovietų okupacinėje sistemoje Sąjūdžio Seimas veikė kaip dalinis, bet teisėtas demokratinis tautos atstovas. Straipsnyje analizuojamas moterų įsitraukimas į Lietuvos Persitvarkymo Sąjūdžio iniciatyvines grupes, dalyvavimas Sąjūdžio iniciatyvinėje grupėje ir suvažiavime. Aptariamas moterų sąjūdis, veikęs kaip Sąjūdžio dalis, miestų iniciatyvinės sąjūdžio grupės. Keliamas moterų sąjūdžio grupių veiklos ir lyderystės klausimas, aiškinamasi, kaip Moterų sąjūdis bendravo ir bendradarbiavo su Moterų taryba, Sovietų Sąjungos sukurta institucija, neturėjusia įtakos moterų įtraukimui į visuomeninę veiklą ar į ideologines propagandines partijos iniciatyvas, neskaitant pavienių atvejų. Moterų tarybų veikla išryškėjo kuriantis Sąjūdžiui ir visus 1989 metus iki Aukščiausios Tarybos rinkimų, įvykusių 1990 m. Straipsnio tikslas – atskleisti moterų vaidmenį kuriant Sąjūdį ir moterų sąjūdžio veiklų specifišką, įsitraukimo laipsnį, keltas problemas ir siūlytus sprendimus. Siekiant tikslo analizuota archyvinė medžiaga, esanti Lietuvos valstybės naujojo archyvo Lietuvos persitvarkymo Sąjūdžio fonde, Kauno regioninio valstybės archyvo Kauno sąjūdžio fonde, to meto periodinėje spaudoje, pasitelkti šiais klausimais atlikti moksliniai tyrimai

Cooperation Peculiarities Between Designers, Artists and Managers when Creating Black Ceramics Prototypes for the Market. A Case of “Baltic Patterns in Ceramics: from the Past to the Future”

Today, contemporary design solutions require creative thinking because the original design is based on innovation and creative solutions to solve certain problems such as preservation of old traditions, cultural heritage for future generations. Design as an area of science and practical activities functions by defining specific design peculiarities. Design products in scientific literature are described as closely directly related to the process, distributed in the context of the process, ones that impact the context and alter the process further. A creative product is created when acting together with other artists and is planned for the consumer, where the globalisation of the 21st century is one of the threats to national cultures. In the meantime, the person first understands the image and terms created by the culture around him, so artists, creators of creative products, play an important role here. Cooperation is a new and inspiring means of this activity that provides power to initiate, implement and evaluate solutions that is based on not only shared responsibilities, but also partnership that strengthens communication, increases trust, empathy between organisations and satisfaction in a generally received result. Sientific problem may be raised: What are the specificities of design product development and commercialization? In realizing this problem the theoretical concept and peculiarities of design product were discussed; the stages and principles of design product development and its introduction to the market were analysed; a theoretical model of design product development was created and introduction to the market; the theoretical model was analyzed by the implementation of the project “Baltic Patterns in Ceramics: From the Past to the Future”. The methods of scientific literature systematic analysis, comparison and abstraction were employed in the research

Teatro tarptautinės gastrolės kaip tarpkultūrinio bendradarbiavimo priemonė

The 21st century theatre is open to new ideas, new findings and presentation of own works to the consumer on not only the national, but also international level. This stands for communication and cooperation with the consumer and organisations. Theatre tours abroad are one of the forms of intercultural cooperation among organisations and consumers. The article analyses the peculiarities of organising theatre tours, its benefit and levels of cooperation. The study includes an analysis of organising national and commercial theatre tours on an international level which allows concluding that intercultural cooperation can occur on the following three levels: interpersonal (micro), interinstitutional (macro) and international (mezzo). The study reveals another new – mixed – level; however, a new mediating element can be seen in cooperation on micro or macro levels. Both types of theatre (state and non-state) see evident benefit of international tours for the theatre, the troupe and the country. A country can use this as a means of soft power in its foreign policies.XXI amžiuje teatras yra atviras naujoms idėjoms, naujiems ieškojimams ir savo darbų pateikimams vartotojui ne tik nacionaliniu lygmeniu, bet ir tarptautiniu. Tai yra bendravimas ir bendradarbiavimas su vartotoju, organizaciajomis. Teatro gastrolės užsienyje yra viena iš tarpkultūrinio bendradarbiavimo formų tarp organizacijų ir vartotojų. Straipsnyje analizuojami teatro gastrolių organizavimo ypatumai, gaunama nauda ir bendradarbiavimo lygmenys. Gastrolių organizavimas kaip veikla skiriasi nuo klasikinio veiklos organizavimo. Išskirtini šie gastrolių organizavimo etapai: produkto parinkimas, sukūrimas; komunikacija su kita šalimi; organizacinių aspektų derinimas ir vykdymas bei įvykusių gastrolių vertinimas. Į šiuos etapus įeina techninių aspektų derinimas ir pritaikymas, rekvizitų logistika, trupės užimtumo grafiko suderinimas, finansavimo paieškos ir kiti smulkesni žingsniai. Tyrimo metu buvo analizuotas nacionalinio ir komercinio teatrų tarptautinių gastrolių organizavimas. Nustatyta, jog tarpkultūrinis bendradarbiavimas gali vykti trimis lygmenimis: tarpasmeniniu (mikro), tarpinstituciniu (makro), tarpvalstybiniu (mezo). Tyrime atsiskleidė dar vienas, naujas lygmuo – mišrus, tačiau į bendradarbiavimą mikro arba makro lygmenyse įsiterpia naujas tarpininkaujantis elementas. Abu teatrai (valstybinis ir nevalstybinis) įžvelgia akivaizdžią tarptautinių gastrolių naudą teatrui, trupei, valstybei. Valstybė užsienio politikoje ją gali panaudoti ir kaip minkštosios galios priemonę

Transformation of the Museum in the 21st Century: Baltic States Museums Visitors

Audience development in cultural organisations and museums in Lithuania is relevant and not enough explored. While reading different academic literature and research on this topic, the most common issue mentioned is a lack of research about visitors to Lithuanian cultural organisations and museums. Most usually, communication about events and products created for visitors is based on the intuition or opinion of the employees, rather than on analysis of visitor’s expectations. Meanwhile, global research is orientated to understand, who is the audience of the organisation and what expectations it has. Those studies show that the audience is expecting to get new emotions, learn new things, new experiences, and increase social connections, to feel welcomed and interested

Organisation of Social Art in Performance Art Organisations

Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations