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In Flanders, the subventions in the cultural sector are mainly divided and decided upon within the framework of the Arts Decree. Within this policy framework, art organizations may choose in their funding applications for “participation” as one of the five possible functions to describe their artistic and cultural practices. However, questions need to be raised about the different interpretations of the notion of participation within this policy framework. The growing trend of evidence-based policy-making implies that participation risks to become a “target” that needs to be achieved instrumentally, which paradoxically ignores the fact that participatory practices within culture and the arts are very often diverse, multi-layered and context-specific practices. Starting from this paradox, the purpose of this paper is to explore how the current policy framework is translated into different “participatory” art practices by art organizations and specifically how cultural practitioners themselves conceptualize it.

In this paper, the authors discuss the results of a qualitative research based on semi-structured interviews with cultural practitioners about how they grapple with the notion of participation within their organizations and practices.

The results clearly show that practitioners use micro-politics of resistance to deal with different, and often conflicting, conceptualizations of participation in relation to this cultural policy framework.

The implications of the findings are vital for the discussion about cultural policy. These micro-politics of resistance do not only have an impact on the development of individual participatory art practices but also on the broader participatory arts landscape and on how the function of participation is perceived within the renewed policy framework.

The original contribution of this paper is to explore the perspective of practitioners in cultural organizations about the function of participation in the Arts Decree in Flanders and specifically how the notion of participation is operationalized in their practices in relation to this cultural policy framework.

The purpose of this paper is to offer a picture of the relationship the researchers perceive between the art and research practices, unravelling the ways the authors shape and inform enactment of a purposeful nexus between art making and research.

A hybridised methodology is adopted, where methods integral to narrative inquiry and a/r/tography are drawn together to generate a series of “pictures” of the interplay between research and artistry. Through exploration of critical events, creative prose and artefacts, the paper unfolds the parallels perceived and tensions encountered between the approaches to making art and conducting research.

Borders can create a sense of calm and safety in allowing us to organise and contain information or matter, but they are also provocative in their potential to be crossed. Through this work, the authors chart the borders of the art making and research, and how, why and when these borders might be traversed to augment the integrity of both practices. In unfolding and examining the experiences and the perceptions thereof, the authors articulate ways in which the authors find arts practice to enrich and inhibit the research, and vice versa.

Of particular value in this paper is the way in which the authors not only tell of the experiences as artists and researchers, but also show these experiences through a/r/tographic methods. As such this paper presents an approach to research that is generative, suggesting rather than concluding and challenging rather than resolving, and ultimately offering multiple avenues for artistic and analytic insight.

The paper seeks to focus on the management of art galleries in the context of contemporary visual art markets, viewed from the institutional and industrial network approaches. The aim is to understand the shaping of management practices. The characteristics of the visual art market, the immaterial value of products and the key role of relationships and networks, make the contemporary visual art market an insightful context to study the management practices.

A qualitative research method was chosen – altogether 80 interviews were conducted in European markets.

The contemporary art market can be seen as a network structure consisting of actors who participate in creation and change of the practices. The management practices of galleries were created and changed by imitations and through isomorphic forces. It is proposed that major changes in management practices originate mainly from financial reasons, where the driving force is to survive economically. The striking similarity of gallery management practices was interesting. The shared practices are used as means to create stability for the market.

A gallery manager should reflect the implicit norms and values of the art field in their art gallery management. The knowledge of these management practices is of importance especially for new galleries entering the market.

The theoretical contribution of the study builds on elaboration of the practices concept by combining aspects of the institutional approach and the industrial networks approach.

This study aims to investigate how art events can enrich novice visitors by transforming their practices.

This research uses an interpretive case study of the art exhibition “1/1/1/1/1” in the Oppenheim gallery in Wroclaw. It draws on multiple sources of evidence, namely, novice visitors’ interviews, observation including photo studies and content analysis of art-makers’ mediation sources. This study is an example of contextual theorizing from case studies and participatory action research with researchers as change agents.

The evidence highlights that aesthetic values and experiences are contextual to practices and are transformable into other values. The findings illustrate the role of practice theory in studying how art-makers inspire the transformation of practices, including values driving the latter.

The findings provide implications for transformations of co-creating contextual values in contemporary visual art consumption and customer experience management.

Practical implications to arts organizations are also provided regarding cultural mediation conducted by art-makers. Exhibition makers should explain the meanings of the particularly visible artefacts to allow visitors to develop a congruent understanding of the meanings. The explanations should not provide ready answers or solutions to the problem art-makers suggest to rethink.

The social implication of our findings is that stakeholders in artistic ventures may undertake adequate, qualified and convergent actions to maintain or transform the defined interactive practices between them in co-creating contextual aesthetic values.

The study provides new insights into co-creating values in practices in the domain of contemporary art exhibitions by bringing the practice theory together with an audience enrichment category, thus illustrating how novice visitors get enriched by transforming their practices led by contextual values of “liking” and “understanding”.

This paper explains a collaborative self-study research project that included an evolving arts-based inquiry (ABI) approach. The combined experiences of a visual artist/art educator and a drama educator, informed the design and use of ABI strategies to investigate practices of Australian teacher educator-researchers. These strategies are shared along with results from interviews that reveal the dynamics and value of this particular model of ABI within a larger research project.

ABI was included in the methodology of collaborative self-study. It involved listening to participants’ arts-based and written responses then basing the next provocations on these outcomes. This gave ownership to the group members and reinforced the community of practice foci.

ABI challenged academic identities and practices. It allowed for more enjoyment in the workplace, for reflection and reflective practice to develop. It provided opportunities for shifting perspectives and perceiving teaching practice differently, inspiring more creativity in teaching. It also improved relationships with co-workers and held the group together.

The authors share this research to recommend others a way to collaborate within group research projects.

The authors found it vital to have a co-ABI facilitator from within the group to collaborate with, in order to develop the most appropriate ABI provocations within an emerging research project.

This model of research can generate honest and in-depth insights for participants (members of a community of practice) as to how and why they do the work (practices) they do.

The study’s use of ABI offers an original perspective in the use of this methodology.

This chapter refers to basic qualities of art learning in relation to citizenship education. It aims to explore pedagogical principles and methods/strategies through examples of artistic practices in different settings and instances, emphasizing cultural and democratic dialogue.

Artistic practices in education are explored through documentation and visual data and reveal different ways of learning and thinking that incorporate inclusive and critical approaches to art education. Documentation encompasses (1) examples of artistic initiatives in Europe including Cyprus and (2) the researcher's initiatives reported through visual notes in informal and formal types of educational settings. Documentation exposes creative processes and strategies significant for learning in, about and through art and introduces visual research methods as a meaningful and democratic way of teaching and learning the visual arts. Findings reveal features of art learning emphasizing cultural dialogue, pluralism and creative processes based on active and participatory art education approaches.

This descriptive, non-experiment case study addresses the little-studied topic of martial arts tourism within the Democratic People’s Republic of Korea (DPRK; i.e., North Korea) to determine if it is a form of non-entertainment tourism.

The current research focusses on a single subject (Singaporean female; 36 years of age (at time of interview); Taekwon-Do 4th degree black belt) who travelled to the DPRK three times to practice the Korean martial art Taekwon-Do. After the initial contact, a questionnaire was used and direct interviews via Skype and Facebook were performed. A broad thematic discourse, as well as analysis of the subject’s travel and practice notes and photographs from her stay in the DPRK, were also incorporated into the findings.

The subject developed new Taekwon-Do skills, which permitted her to obtain higher Taekwon-Do ranks as well as enriched her personality and changed certain conceptions. Self-realization and self-improvement through martial arts are the dominant motives of martial arts tourism. Therefore, the subject’s motivation confirms martial arts tourism can be a variation of non-entertainment tourism.

This research is hindered by the standard case study limitations: it is difficult to generalize this study’s results to the wider DPRK population, the interviewee’s and researchers’ subjective feelings may have influenced the findings, and selection bias is definitely a factor because of the study’s population being a single female of non-DPRK origin.

As one of the first studies on DPRK martial arts tourism and practice, this research examines where research on the DPRK and martial arts tourism intersect. It is thusly unique in providing new insights into the DPRK’s intention for its tourism industry, as well as Taekwon-Do, arguably its most marketable cultural asset.

The purpose of this paper is to evaluate the connections between art and marketing in order to develop enhanced insight into how visual art and the art world can inform marketing theory and practice.

An indepth analysis of a range of relevant literatures is carried out in order to heighten understanding of art as a way of knowing within the marketing discipline. A range of meanings of art and marketing are considered and an analysis of their intersections is carried out.

A number of useful concepts are developed, including that of the marketing manager as an artist. Viewing marketing through visual art is seen as an avant garde response to addressing the continuing theory/practice gap.

Following an art‐based way of knowing in marketing has the potential to challenge more mainstream paths of thinking by opening up the ways in which we visualise marketing theory and practice. Thinking about marketing through art should not be seen as a general panacea for addressing current inadequacies of marketing theory, but should instead be viewed as an alternative mechanism in which contemporary marketing theory and practice can be enriched by the transference and juxtapositioning of art‐based thought with long established ways of thinking about marketing.

Artistic creativity is seen as a key factor in stimulating marketing decisions. Viewing the marketer as artist also mirrors the actual behaviour of the marketing manager by providing insight into intuitive thought processes and visualisation techniques.

Arts marketing research in general is making progress in terms of its theoretical and practical contributions to the wider marketing discipline. It is believed that papers such as this will contribute to the ongoing research agenda by stimulating much needed critical debate.

This paper aims to respond to the need for a model of doctoral supervision that can capture and represent the focus, range and complexity of instructional intentions, practices and possibilities.

The study draws on the substantive literature on supervision and changing doctoral programs in the Fine Arts and relatively new empirical findings about supervision and learning. The authors posit a holistic model of supervision ranging across micro–macro and product–person dimensions. The model is further explained and illustrated using four supervisor cases in Fine Arts.

The model offers a heuristic for supervisors to reflect on and identify existing emphases, alignments and integrative possibilities to better understand the complexities of Fine Arts supervisory practices.

There is a dearth of research that addresses how doctoral supervisors perceive and articulate their roles and breadth of responsibilities in light of new programs and changing sectoral expectations.