Tous thèmes

Les « thèmes » sont un flux de ressources générées ou créés par le personnel de l’IETM et par nos membres. Les sujets mis en avant nous semblent actuellement essentiels pour le secteur des arts du spectacle : la relation avec le public, les politiques culturelles de l'UE, la diversité et l’intégration, la durabilité du secteur, la valeur des arts dans la société, et les divers paradigmes, défis et aspirations qui sont vécus aux quatre coins du monde.

Partager

"We suggest that the conflation of culture with creative industries since 1997 has harmed both cultural policy and creative industries policy in the UK. We propose that an official definition of the cultural sector and the production of government statistics to support such a definition will help to clarify creative industries policy and create a much needed opportunity to revisit the scope and nature of cultural policy. "
Creative work has enhanced human development since early times; similarly, the latter can expand the former. But the links are not automatic. To expand the contribution of creative work to human development, this paper suggests cultivating more respect for local creative output, fighting exploitation and gender bias, promoting intellectual property, and collecting data and building infrastructure.
"The creative industries are a UK strength. Employment in them is growing rapidly and their employment share of the national workforce is among the highest in Europe. Creative jobs are less likely to be automated and hence should provide more sustainable employment in future. The sector is also likely to become more technologically sophisticated in future. It is therefore important to understand activities at the intersection of art and tech to inform thinking in this area. "
"The first fruits of the EU’s new “cultural strategy” for external relations was on show at the Development Days conference in Brussels on Wednesday (15 June), as a theatre troupe from both warring sides in Sri Lanka showed how working together could aid in post-conflict resolution."
D'Art 48 presents the results of the online survey on International Entrepreneurship in the Arts, disseminated among members of the International Federation of Arts Councils and Culture Agencies in May–June 2015.
Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the...
"Nobody cares how you pay your rent. Your job is to show us something we didn’t know we needed to see. But it is, nonetheless, a job."
Most arts majors come from money. Most artists didn’t major in the arts. What does that say about the sector?
"It seems to me that the reason why precarity has divisive effects on the community is because it forces people to be competitive. When you want to acquire funding for your projects and yourself, fellow artists become competitors you have to prevail against."
"This article presents findings from an in-depth project carried out with five audience-participants at cultural events during Leeds’ annual LoveArts festival. The researchers asked participants to explain what the arts meant to them. They discovered that people found cultural value difficult to articulate. They concluded that instead of striving to rationalise the value of the arts, we should try to feel and experience it."

Pages

S'abonner à

Already a member?

Identifiez-vous to post your own content or join the discussion.

Ou pour nous rejoindre.