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Milton Nascimento is one of the most prolific Brazilian singers and songwriters of all time, an artist who has formed friendships and made songs with a host of Brazilian artists, with international stars from Latin America, and with artists abroad. Milton’s repertoire has made its way into the fabric of musical compilations of Brazilian music for international listeners. Perhaps unbeknownst to these international listeners, Milton, as an Afro-Brazilian artist, reflects a complex and paradoxical relationship to “race” in his music – at times openly touching upon racial themes, even during an area when the government forbade open discussion of racial tension in Brazil – but at times signifying race more subtly, either through subtle references to diversity in Brazil or through the very elements of his music.

Increasing evidence from high-income countries has revealed the positive impacts of creative entrepreneurship on the local economy, and these have attracted substantial attention in recent years. Creative industries are considered as the seedbeds for innovation; they are highly innovative and productive and are seen as drivers of economic development and social change. Creative industries are distinctive in that they have several transaction networks and income streams. Although creative industries are generating increasing interest in the minds of researchers and policy-makers in developed countries, the institutional and economic settings in Cameroon and other developing nations may not be so conducive to creative industries. The available evidence is insufficient to understand their performance and sustainability, let alone to estimate their contribution to the rest of the economy. This chapter demonstrates how the creative industries could contribute to the economic and social development of a nation. The chapter further explores the current situation of creative industries in Cameroon, with a focus on the artists of popular and folk music, the challenges they are facing, and provides ways forward.

The main research questions critically examine online videos that draw attention to a local community of musical practice, noticing how these can potentially be included within the tourism promotion strategies. This paper develops a case study of four videos realised by the Louth County Board of the organisation Comhaltas Ceoltóirí Éireann (CCÉ) in Co. Louth, Ireland, as a part of the FleadhFest 2021 initiative. It highlights the role that virtual spaces have in enhancing a sense of belonging to a music/festival community as well as the possibility that visual and audio supports have in promoting and celebrating a destination and its cultural features.

The analysis involves a netnographic examination of these videos (Janta, 2017), informed by the concept of “tourist gaze” (Urry, 1990; 2002) and influenced by film-induced tourism studies (Beeton, 2005).

Results show how festival and event organisers responded to COVID-19 social restrictions by creating a virtual space for celebrating music heritage and local musicscape, placing an emphasis on local musical scene.

The research aims to inform future developments in how the organisation operates within and engages with virtual space, its members and a wider audience.

This is the first study to consider the virtual activities of CCÉ from an ethnomusicological as well as tourism, perspective.

The article aims to elucidate how embracing Tropicália's conceptual framework can foster a more fluid and adaptive approach to organizing, transcending traditional boundaries and embracing diversity, innovation and creativity. The analysis encompasses various facets of organizational dynamics, including holdership, professional praxis, organizational ambiance, knowledge dissemination and diversity promotion. By examining Tropicália's reverberations in these areas, this article seeks to provide insights and perspectives that can contribute to the literature on organizational theory and practice, offering a rejuvenated and contemporaneous approach to the art of organizing.

This article explores the conceptual architecture of Tropicália, a Brazilian cultural and artistic movement, and its potential impact on contemporary organizational structures. By embracing Tropicália's essence, organizations can cultivate an adaptable and diverse ethos, free from traditional constraints. This analysis encompasses holdership as sustenance, professional praxis, organizational ambiance, knowledge dissemination and diversity promotion. Tropicália's potential to foster engagement, fuel innovation and shape an inclusive culture is examined. This article contributes a contemporary perspective to organizational theory, emphasizing the importance of integrating Tropicália's intellectual fabric for navigating the modern business landscape and fostering creativity and innovation.

The findings of this study highlight the potential impact of Tropicália on contemporary organizational practices. By embracing Tropicália's conceptual framework, organizations can foster a more fluid and adaptive approach to organizing, transcending traditional boundaries and embracing diversity, innovation and creativity. Tropicália's immersive and transformative esthetic experiences can create dynamic and inclusive organizational environments that encourage individual agency and stakeholder engagement. The analysis encompasses implications for holdership and management practices, organizational culture, collaboration and knowledge sharing, diversity and inclusion, innovation and creativity. Tropicália has the potential to foster employee engagement, drive innovation and create a more inclusive and adaptive organizational culture.

This article provides originality and value by exploring the potential ramifications of Tropicália on contemporary organizational esthetics. It offers a fresh and contemporary perspective on the art of organizing by drawing upon the unique conceptual framework of Tropicália. By embracing the principles of Tropicália, organizations can cultivate an organizational ethos that goes beyond traditional boundaries, fostering adaptability, diversity and innovation. The analysis encompasses aspects of organizational practices, including holdership, professional praxis, organizational culture and diversity and inclusiveness. The findings contribute to the existing literature on organizational theory and praxis, offering a rejuvenated perspective on organizing in the modern business landscape.

The policies in creative and cultural industries (CCIs) are often based on an implicit assumption that work in the cultural and creative sectors is ‘good work’ and dominant discourses tend to over-celebrate entrepreneurship. The authors argue that enough attention has been paid to the real work in CCIs. The stake is to better address the symptoms observed for a sustainable and inclusive economy in the CCIs. Through the entrepreneurship-as-practice perspective, the authors document the professionalisation difficulties in music sector, with a qualitative study in a French city, with a particular focus on the marginalisation experienced by the young artists. With the identification of their work specificities and the tendencies for the twenty-first century, the authors point out the diversity of the tasks, the multi-activity and collective practices and the need for some innovative support organisational forms to develop training and skilling (both artistic and entrepreneurial).

Covid-19 pandemic, war, climate emergency and other recent challenges are inflicting tremendous stress to youth. However, death and tragedy are nowadays considered taboo, as there is generally no standardized nor naturalized discussion on the subject, especially with young people. The current multi-crisis scenario is intensifying the need to incorporate an education on tragedy and resilience in our learning systems. In this context, it is necessary to find suitable teaching resources for this educational challenge that are attractive, entertaining and suitable for children and youth. A resource that meets all these requirements are children’s folk songs (CFSs). Apart from the intrinsic educational potential of music, folk songs have a simplicity and musicality that make them an ideal teaching resource. Considering their oral historical transmission, their survival confirms the attraction that this type of composition causes on children. However, to consider CFSs as an adequate resource to carry out an education for death and tragedy, it is necessary to study whether they present a non-negligible proportion of tragic passages and with enough variety of themes. This paper aims to address the study of the presence of explicit tragic content in Spanish CFSs and thus could be considered a cultural resource with transformative educational potential to develop resilience capabilities on the face of tragedy.

An analysis of lyrics of 2,558 Spanish CFSs is presented, using a manual content analysis as well as a computerized content analysis with the aim of identifying the tragic component of these songs and, thereby, assessing their pedagogical potential as a transformative educational resource.

The results obtained show a considerable presence of death and tragedy (19.78%) and a variety of tragedy dimensions. CFSs have been transmitted orally not only as a ludic resource, but also to prepare children for life (and death). The results show the complementarity of both analyses to avoid subjectivity while considering the underlying meanings of the songs.

This task had previously not been approached in an automated manner in the literature, nor there had been a similar study with a sample of this magnitude. The outcomes obtained show the considerable presence of tragedy in Spanish CFSs and emphasize the interest of this currently undervalued didactic resource.

Movies critics believe that the diversity of Iranian cinematic genres has decreased over time. The paper aims to answer the following questions: What is the impact of the continuous cooperation between the key nodes on the audience's taste, uniformity of the cinematic genres and the box office? Is there any relationship between the importance of actors in the actors' network and their popularity?

In the artistic world, artists' relationships lead to a network that affects individuals' commercial or artistic success and defines the artwork's value. To study the issue that the diversity of Iranian cinematic genres has decreased over time, the authors utilized social network analysis (SNA), in which every actor is considered a node, and its collaboration with others in the same movies is depicted via edges. After preparing the desired dataset, networks were generated, and metrics were calculated. First, the authors compared the structure of the network with the box office. The results illustrated that the network density growth negatively affects box office. Second, network key nodes were identified, their relationships with other actors were inspected using the Apriori algorithm to examine the density cause and the cinematic genre of key nodes, and their followers were investigated. Finally, the relationship between the actors' Instagram follower count and their importance in the network structure was analyzed to answer whether the generated network is acceptable in society.

The social problem genre has stabilized due to continuous cooperation between the core nodes because network density negatively impacts the box office. As well as, the generated network in the cinema is acceptable by the audience because there is a positive correlation between the importance of actors in the network and their popularity.

The novelty of this paper is investigating the issue raised in the cinema industry and trying to inspect its aspects by utilizing the SNA to deepen the cinematic research and fill the gaps. This study demonstrates a positive correlation between the actors' Instagram follower count and their importance in the network structure, indicating that people follow those central in the actors' network. As well as investigating the network key nodes with a heuristic algorithm using coreness centrality and analyzing their relationships with others through the Apriori algorithm. The authors situated the analysis using a novel and original dataset from the Iranian actors who participated in the Fajr Film Festival from 1998 to 2020.

This study aims to address the question of what coordination mechanism can be used for cultural production and, in particular, for the governance of music culture production. The authors locate their reflection within the specific institutional innovations introduced in Italy in 2017, focusing on the idea of shared administration and the public–private collaboration instituted in Trentino (a province located in northern Italy) in support of its cultural policy.

This study focusses on the Trentino’s music school system. This includes 13 organisations (musicians’ cooperatives as well as associations of musicians and students, plus one municipal school which do not overlap with the public school system). To analyse shared administration features, the authors rely on selected information from 50 interviews with Trentino Music Schools (TMS) teachers and administrators, and on the proceedings of the 1994 music school conference organised by the schools at the time when this novel educational system was created.

To offer an innovative educational service, the public actor (Provincia Autonoma di Trento [PAT]) and the schools (TMS) have developed a strong interdependence at the different levels of decision-making: PAT needs organisations that are sufficiently structured and organised to respect requirements of transparency and accountability, as well as educational standards, whereas TMS need public funding to maintain their service accessible for users, good labour conditions and be financially sustainable. Likewise, the success of TMS in educating thousands of students every year, including additional teaching programmes funded by PAT within general public schools, has contributed to decrease the exclusion from music education, raise interest in young people for music and fed enrolment in TMS as well as in the public schools related to the conservatoire filière. Conclusions emphasise the existence of a polycentric system of music culture production which needs to acknowledge the risk of being trapped in a static disequilibrium, while recognising change and the need to support and promote a culture of cooperation among schools and across layered institutional levels over time.

Further research can observe this system of cultural production over time, to appreciate changes and organisational tranformations, while introducing comparative analysis with other systems in different regions.

The relationship between the public and private sectors to design, organise and manage activities of collective interest (in the social, cultural, sporting and other fields) can increasingly become an effective and efficient alternative to the traditional bureaucratic as well as to the competitive method. For this to happen, however, all actors involved must be aware not only of areas of efficiency but also of inefficiency. To remedy the latter, corrective measures will have to be introduced. For example, fostering and improving “co-programmazione” and “co-progettazione” means giving all stakeholders involved the opportunity to actively participate. Should the number of participants increase, more discussion fora could be set up because one alone may not be sufficient to foster maximum involvement, to enhance different points of view, to allow for intersectoral and multidisciplinary interpretations and responses.

The system governance based on co-programming and co-design has allowed – despite limitations – to pursue educational purposes and thus well-being for the users, as well as for the teachers and the community as a whole. The continuity of this educational and cultural action has been guaranteed by the economic and financial sustainability of the schools, which is highly dependent on the public actor funding personnel costs, and in turn tied to the number of students (demand) attending each school. Actors embedded in the system need to build awareness of industry and cultural changes and knowledge of how to introduce more adaptive capacity. This points towards the need for strengthening networking capacity and collaboration among schools and other relevant stakeholders.

The case presented is a unique system of music culture production in Italy, and its governance has never been addressed by previous studies. It provides an application of shared administration to which public administrations and communities can learn to improve access to music culture and education. For public and private organisations to take advantage of the method of “co-programmazione” and “co-progettazione”, to make the production of a meritorious good more efficient and to favour its maximum accessibility, this study considers the strengths and weaknesses of this approach, or the areas of efficiency and inefficiency, for which new measures will have to be introduced.

The purpose of this paper is to discuss the need to establish linkages between tourism, intangible cultural heritage and creativity in Egypt and also diversifying tourism through creativity; and to analyze and explain the impact of intangible cultural heritage on tourism experience in Egypt and the opportunities to generate added value from integrating tourism and creativity. It also suggests some practical steps for developing intangible cultural heritage-based tourism models in Egypt.

The paper proposes a conceptual framework for integrating intangible cultural heritage with tourism in Egypt and its impact on tourism experience. To apply this framework, a case study was conducted focused on the tourism experience derived from intangible cultural heritage in Alexandria. The authors collected primary data by directly observing and experiencing tourism in Egypt, providing valuable firsthand experiential data. These observations offered insights into the practical aspects of intangible cultural heritage-based tourism in Egypt. In addition, secondary data sources such as academic research papers, reports and publications related to tourism and intangible cultural heritage experiences were utilized to support and complement the primary data.

Findings suggest the need for a different approach in intangible heritage based tourism promotion and consumption, an approach that may differ from the conventional and typical considerations in cultural tourism planning and management. In addition, findings emphasized that tourism-based intangible heritage in Egypt can be a constructive platform and sustainable tool to promote the country’s rich culture and traditions while providing employment opportunities for the local population.

This study provides an exploratory overview of integrating intangible heritage with tourism in Egypt, through exploring Egypt’s intangible heritage and proposing a framework of its inclusion, in order to create an intangible cultural heritage tourism experience. However, the proposed framework and packages should be analyzed and examined on the ground through the heritage, administrative, social and tourist aspects of the destination, to assess the viability of the study.

The practical implications of this study should be addressed to the decision makers working on management action plans in tourist destinations in Egypt, such as site mangers as well as tour operators. It could contribute to adopting a new approach in developing and implementing a mutually beneficial partnership between intangible heritage and tourism in Egypt.

It is the first study that presents practical steps to develop new models for linking intangible heritage to tourism in Egypt.