Stuart Greenwell has created the Urbancode magazine. Issue # 3, of this new and exciting arts magazine, is now ready for you to download. Download the latest issue, or previous issues.
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Friday, September 21, 2007
Inclusion, innovation and democracy: growing talent for the creative and cultural industries
DEMOS
October 2006
Simon Parker, Charlie Tims and Shelagh Wright
The creative and cultural industries are perhaps the most visible and potent emblem of the way the post-industrial age is transforming Britain’s economy. The rise of a global division of labour has meant that, for the first time, significant numbers of people are able to concentrate on producing ideas, art and technology. The implications are profound: new kinds of people, with a deeper sense of self; new kinds of jobs that engage our creative and personal energy; and new kinds of product, in which customers and professionals come together to create shared value.
In an important sense, the last 30 years have seen the unprecedented democratisation of the kind of creative work that was previously open to only tiny numbers; a trend that looks set to continue into the future. The UN estimates that the creative industries account for more than 7% of global GDP and that they are growing at a rate of 10% per year. This paper argues that the process of democratisation is incomplete. The very things that give the creative and cultural industries their vitality – their speed, fluidity and turnover of people, organisations and ideas, also work to exclude people from non-traditional backgrounds.
October 2006
Simon Parker, Charlie Tims and Shelagh Wright
The creative and cultural industries are perhaps the most visible and potent emblem of the way the post-industrial age is transforming Britain’s economy. The rise of a global division of labour has meant that, for the first time, significant numbers of people are able to concentrate on producing ideas, art and technology. The implications are profound: new kinds of people, with a deeper sense of self; new kinds of jobs that engage our creative and personal energy; and new kinds of product, in which customers and professionals come together to create shared value.
In an important sense, the last 30 years have seen the unprecedented democratisation of the kind of creative work that was previously open to only tiny numbers; a trend that looks set to continue into the future. The UN estimates that the creative industries account for more than 7% of global GDP and that they are growing at a rate of 10% per year. This paper argues that the process of democratisation is incomplete. The very things that give the creative and cultural industries their vitality – their speed, fluidity and turnover of people, organisations and ideas, also work to exclude people from non-traditional backgrounds.
AU - The social and demographic characteristics of cultural attendees
Cultural Ministers Council Statistics Working Group
People choose to spend their leisure time in various ways. Some people's choices include visiting cultural venues, attending cultural events and participating in cultural activities. For example, people may choose to attend cinemas or the theatre, listen to music, read books, or visit a museum or library in person or on-line. Information about these choices, and also the choices of those who do not access arts and cultural heritage services, is important for policy makers and service providers. In addition to understanding the interests of consumers, it is important to research those who do not consume arts and cultural heritage services, and to understand why. For example, is distance a barrier for people in regional and remote areas? Are general admission fees or charges a barrier to access for some people, and is this a policy concern? The answers to these questions would inform policy and assist more effective targeting of services.
Saturday, September 8, 2007
Arts as Industry: Their Economic Impact on New York City and New York State
The New York State Alliance for the Arts is a pioneer in research on the cultural community in the city, state and region. They have produced economic impact studies going back to 1983 prove that the arts are a vital industry in New York, as an economic engine which strengthens and supports other industries, such as tourism and the commercial arts. Their work is used every day by cultural leaders, funders and policy makers—and is the foundation of their advocacy work.
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