CETA and the Arts

For those interested in the roll CETA played in support of artists throughout the US there are two documents that may be of interest. These documents are from the late 1970's and the early 1980's and focuse on CETA and the Arts.

One titled The Partnership of CETA and the Arts produced by the Employment and Training Administration has an introduction by then Assistant Secretary for Employment and Training Ernest G. Green and by Lee Kimche Director, Institute of Museum Services.

The second is an analysis and documentation report prepared for the US Department of Labor, Employment and Training Administration, Office of Policy, Evaluation and Research and the Office of Comprehensive Employment Development and is executive summary is available. The title is CETA and Arts and Humanities: Fifteen Case Studies

Both are available by sending your request to cetaarts@gmail.com

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.